Our resident Fender amp guru, Jens Mosbergvik, usually sings the praises of Fullerton’s classic offerings, but this time he switches sides to unpack his biggest gripes with the manufacturer’s legendary noisemakers.
Vintage Fender amps have a strong reputation among players in many genres. The brand is instantly associated with an endless list of great bands which created music that has stood the test of time. In terms of general tone, Fender’s original amplification strategy—which favors articulate, bright, transparent, and clean sounds—was a winning combination that myriad players still gravitate toward.
Through my previous columns in this magazine, I’ve shared the tips and tricks I’ve learned after playing, trading, and servicing old models from the California manufacturer. But today, it’s time for critical thinking. I’m switching sides to share the 10 most annoying things about vintage Fender amps. As usual, I will mostly refer to the black- and silver-panel amps.
“It breaks my heart that the original Deluxe Reverbs came with a weak and farty Oxford speaker, when it sounds so much better with a more punchy, clear-sounding C12N.”
Many of the critiques that I offer here ultimately advocate for simplification. All amp techs know that simple is good. Simple amps are lighter, smaller, cheaper, and have less things that can go wrong in the long run.
So, here is my list:
Two Jack Inputs
I’ve never met anyone who uses the second input. Back in the day, Fender thought we were going to swap guitars between songs without having to adjust the volume knob to compensate for the different pickups’ varied outputs. Wrong assumption.
Two Channels
I always use the reverb channel, even when using high distortion, at which point I simply turn the reverb down. Except for the Bassman, the normal channel is not needed at all. If all of the dual-channel amps were instead single-channel, like the Princeton Reverb, a lot of tubes and circuit components could be spared, leading to significant cost reduction and simplification of the production line. Even with the black- and silver-panel Bassman, I would prefer a single channel, as long as both the deep and bright switches were available. The only advantage with having a second preamp channel is the possibility to isolate the power amp section and the two preamp sections in diagnosis. But that still doesn’t make it worth it.
The Non-Reverb Amps
If I was Leo Fender, and I was looking to reduce costs, I would have trimmed my portfolio by eliminating the non-reverb Deluxe, Princeton, Vibrolux, and Pro amps. The rarer versions of these amps are no-frills, cool, and great value for the money. But there are reverb-equipped models that can do everything they do just as well and better. They’re not in as high demand, and they’re less profitable due to lower production numbers. Instead, I would have continued the Vibroverb after 1964, which would do the job as the only 1x15 combo amp in the portfolio. Just admit it: Everyone wants a Vibroverb.
Rectifiers
As another cost-cutting measure during my imaginary tenure as the founder of Fender, I would consider using a diode rectifier instead of a tube rectifier in all the bigger dual 6L6GC Fender amps. I like sag in tube amps, but I think very few players can really hear the difference between diode and tube rectifiers. Smaller amps intended for earlier breakup may have tube rectifiers, but they’re not essential there, either.
Glued and Stapled Baffles in Silver-Panel Amps
I wish Fender had continued the floating baffle in the early ’70s instead of the tightly glued and stapled-in baffles that are found in silver-panel amps post-1971. The screwed-in boards are much easier to repair and replace.
MDF Baffles
Medium-density fibreboard, or MDF, baffles are consistently the weakest point in Fender’s wooden cabinet construction, and eventually tear apart. I would much prefer a more dependable plywood pine baffle.
Small Output Transformers
These are found in both the Bandmaster head and the 1x15 Vibroverb—amps that deserve a firmer low end, and which should have the Super Reverb-class output transformer.
Lack of a Bright Switch
In my opinion, this is an essential EQ function that’s left off of Fender’s smaller amps, like the Princeton Reverb and Deluxe Reverb. Without it, these amps leave me no chance to enhance the details of fingerpicking on a clean tone setting.
Lack of Mid Control
This applies to many Fender amps. The bassy and flabby Pro Reverb would particularly benefit from a better mid EQ, with a much wider tone spectrum.
No Jensen C12N Speaker in Deluxe Reverbs
We all know how awesome the Jensens sound in the early black-panel amps, like the C10N in Princetons and Vibroluxes, the C10R in Supers, or the C12N in the Pros and Twins. It breaks my heart that the original Deluxe Reverbs came with a weak and farty Oxford speaker, when it sounds so much better with a more punchy, clear-sounding C12N.
So, there you have it: my list of 10 grievances with Fender. If you have more to add, please share your thoughts in our social media channels.
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Four-time Grammy Award-winning guitarist Gary Clark Jr. announces his 2025 North American tour.
Kicking off at Grand Sierra Resort and Casino in Reno, NV on February 19, the tour will continue with shows in Houston, Atlanta, Nashville, Charlotte, and more before concluding on March 15 in Hollywood, FL at Hard Rock Live at Seminole Hard Rock Hotel & Casino Hollywood.
Artist presale will begin tomorrow, October 2 at 10am local time, with public on-sale to follow on Friday, October 4 at 10am local time. Sign up now at https://www.garyclarkjr.com/ for a first chance at tickets.
JPEG RAW is Clark's first album since 2019’s critically lauded This Land, which became his third consecutive top 10 on the Billboard 200 chart and garnered three Grammy Awards, including Best Rock Song and Best Rock Performance ("This Land") and Best Contemporary Blues Album (This Land). Clark’s first Grammy win was awarded in 2014 for Best Traditional R&B Performance ("Please Come Home").
Since its release, the singer-songwriter has toured extensively and stretched his wings as an actor, playing American blues legend Arthur "Big Boy" Crudup in Baz Luhrmann’s Elvis, which received eight Academy Award nominations. Clark also served as the official Music Director for Jon Stewart's acceptance of the 23rd Annual Mark Twain Prize for American Humor in the Kennedy Center Concert Hall. In addition to programming the event, he delivered a powerful tribute on stage, which aired on PBS nationwide.
Now, as Clark prepares to hit the road once more in support of JPEG RAW, this new era continues for the acclaimed performer—one with ever-expanding horizons, and music that needs to be heard live and in person.
Tour Dates
Bold indicates newly announced dates
*With Eric Clapton
^With St. Vincent
2024
Sep 26 — Rio De Janeiro, Brazil — Farmasi Arena*
Sep 28 — São Paulo, Brazil — Vibra São Paulo*
Sep 29 — São Paulo, Brazil — Allianz Parque*
Oct 15 — London, UK — O2 Forum Kentish Town
Oct 16 — Manchester, UK — New Century Hall
Oct 17 — Bristol, UK — SWX
Oct 19 — Birmingham, UK — O2 Institute Birmingham
Oct 21 — Utrecht, Netherlands — TivoliVredenburg
Oct 23 — Luxembourg, Luxembourg — Den Atelier
Oct 24 — Basel, Switzerland — Baloise Session^
2025
Feb 19 — Reno, NV — Grand Sierra Resort and Casino
Feb 20 — Las Vegas, NV — Brooklyn Bowl Las Vegas
Feb 24 — El Paso, TX — Abraham Chavez Theatre
Feb 28 — San Antonio, TX — Aztec Theatre
Mar 1 — Houston, TX — 713 Music Hall
Mar 4 — Atlanta, GA — The Eastern
Mar 7 — Nashville, TN — Ryman Auditorium
Mar 9 — Knoxville, TN — Tennessee Theatre
Mar 10 — Charlotte, NC — Ovens Auditorium
Mar 11 — North Charleston, SC — North Charleston Performing Arts Center
Mar 13 — Tampa, FL — Seminole Hard Rock Tampa Event Center
Mar 14 — Orlando, FL — Hard Rock Live Orlando
Mar 15 — Hollywood, FL — Hard Rock Live at Seminole Hard Rock Hotel & Casino Hollywood
Revv Amplification's limited-edition G-Series V2 pedals offer three fresh flavors of boutique Canadian tone, with V2 circuit revisions.
Celebrating 10 years of Revv & 5 years since the release of the G2, Revv is debuting V2 circuit revisions of the G2, G3, & G4, implementing new designs for more tone in 3 little pedals, in a limited edition colorway.
The Revv Amplification 5th Anniversary G-Series V2 Lineup features:
- 3 Fresh Flavors of Boutique Canadian Tone - G-Series pedals are sonic recreations of 3 of Revv’s boutique amp channels used by Nashville session stars & metal touring artists alike.
- The Standard, Redefined - V2 circuit revisions are based on the Generator 120 MK3 Rev. B & incorporate new design elements for the most tube-like response & tone ever.
- Limited Edition - Exclusive new colorway featuring a black enclosure w/ custom graphics, embossed Revv badge, & color-coded knobs.
- Find Your Sound - The G2 is a powerful & versatile overdrive capable of everything from touch-sensitive boost to organic vintage stack tones, taken from Revv’s Green Channel.
- High Gain Clarity - The G3 utilizes Revv’s legendary Purple Channel, a tight & responsive high gain tone perfect for drop tuning & cutting through any mix.
- Fat Solo Tones - The G4 is based on Revv’s thick & saturated Red Channel, the ideal sound for chewy crunch, modern rock wall of sound, & liquid sustaining solos.
- Made in Canada - 100% analog circuit w/ top jacks, true bypass, & 2 year warranty.
Revv’s G-Series pedals have a street price of $229 & can be ordered immediately through many fine dealers worldwide.
For more information, please visit revvamplification.com.
Revv G3 Purple Channel Preamp/Overdrive/Distortion Pedal - Anniversary Edition
G3 Purple Ch Preamp/Hi-Gain Pedal - AnniversaryThe Texan rocker tells us how the Lonestar State shaped his guitar sounds and how he managed to hit it big in Music City.
Huge shocker incoming: Zach Broyles made a Tube Screamer. The Mythos Envy Pro Overdrive is Zach’s take on the green apple of his eye, with some special tweaks including increased output, more drive sounds, and a low-end boost option. Does this mean he can clear out his collection of TS-9s? Of course not.
This time on Dipped in Tone, Rhett and Zach welcome Tyler Bryant, the Texas-bred and Nashville-based rocker who has made waves with his band the Shakedown, who Rhett credits as one of his favorite groups. Bryant, it turns out, is a TS-head himself, having learned to love the pedal thanks to its being found everywhere in Texas guitar circles.Bryant shares how he scraped together a band after dropping out of high school and moving to Nashville, including the rigors of 15-hour drives for 30-minute sets in a trusty Ford Expedition. He’s lived the dream (or nightmare, depending on the day) and has the wisdom to show it.
Throughout the chat, the gang covers modeling amps and why modern rock bands still need amps on stage; the ins and outs of recording-gear rabbit holes and getting great sounds; and the differences between American and European audiences. Tune in to hear it all.
Get 10% off your order at stewmac.com/dippedintone
Oasis Live '25 world tour announces North American dates with Cage The Elephant as special guest. Oasis commented, “America. Oasis is coming. You have one last chance to prove that you loved us all along.”
The North American leg, produced by Live Nation and SJM, will see Oasis play stadiums in Toronto, Chicago, East Rutherford, Los Angeles and Mexico City next summer with Cage The Elephant as the special guest across all dates.
The news comes 16 years since their last performance in North America. Oasis commented,
“America.
Oasis is coming.
You have one last chance to prove that you loved us all along.”
The previously announced dates on the Oasis Live ‘25 tour sold out immediately, with over 10 million fans from 158 countries queuing to buy tickets. Days after their return, the band claimed their 8th UK No. 1 album with the 30th anniversary of their electrifying debut album Definitely Maybe, while at the same time occupying two other spots in the top 5 UK albums chart.
Oasis remain a huge draw in the streaming era, with over 32 million monthly listeners on Spotify alone – an increase of almost 50% since the announcement of their return – and nearly 12.5 billion streams to date across platforms.
Registration for the presale is currently open at oasisinet.com until Tuesday, October 1st at 8 am EST. General ticket sale will begin Friday, October 4th at 12pm local time and will be available from Ticketmaster.
Plans are underway for Oasis Live ’25 to go to other continents outside of Europe and North America later next year.
JULY 2025
4th - Cardiff, UK - Principality Stadium (SOLD OUT)
5th - Cardiff, UK - Principality Stadium (SOLD OUT)
11th - Manchester, UK - Heaton Park (SOLD OUT)
12th - Manchester, UK - Heaton Park (SOLD OUT)
16th - Manchester, UK - Heaton Park (SOLD OUT)
19th - Manchester, UK - Heaton Park (SOLD OUT)
20th - Manchester, UK - Heaton Park (SOLD OUT)
25th - London, UK - Wembley Stadium (SOLD OUT)
26th - London, UK - Wembley Stadium (SOLD OUT)
30th - London, UK - Wembley Stadium (SOLD OUT)
AUGUST 2025
2nd - London, UK - Wembley Stadium (SOLD OUT)
3rd - London, UK - Wembley Stadium (SOLD OUT)
8th - Edinburgh, UK - Scottish Gas Murrayfield Stadium (SOLD OUT)
9th - Edinburgh, UK - Scottish Gas Murrayfield Stadium (SOLD OUT)
12th - Edinburgh, UK - Scottish Gas Murrayfield Stadium (SOLD OUT)
16th - Dublin, IE - Croke Park (SOLD OUT)
17th - Dublin, IE - Croke Park (SOLD OUT)
24th - Toronto, ON - Rogers Stadium (JUST ADDED)
28th - Chicago, IL - Soldier Field (JUST ADDED)
31st - East Rutherford, NJ - MetLife Stadium (JUST ADDED)
SEPTEMBER 2025
6th - Los Angeles, CA - Rose Bowl Stadium (JUST ADDED)
12th - Mexico City, MX - Estadio GNP Seguros (JUST ADDED)
27th - London, UK - Wembley Stadium (SOLD OUT)
28th - London, UK - Wembley Stadium (SOLD OUT)