Expression pedals are probably the most underutilized pedals around. With a simple rock of your foot, you can alter any number of different parameters your favorite effect units. Yeah, there might be a bit of under-the-hood tweaking needed to get the full results, but trust me—it’s worth it.
Dunlop DVP4 Volume (x) Mini
Purely on a value-per-inch basis, this volume/expression comes in heavy. At half the size of its larger counterpart, the mini offers an internal trim pot that controls minimum expression values, plus the aux output can also function as an always-on tuner output.
$139 street
Moog EP-3 Universal Polarity Expression Pedal
In some corners of the sonic-sculptor set, using a Moog pedal without an expression control is near criminal. This wildly affordable pedal is universally accepted among pedals, synths, and more thanks to a polarity switch.
$59 street
Lehle Dual Expression Pedal
What if you need to control more than one pedal? This dual expression pedal offers a ton of features that include accommodating TS, TRS, or RTS inputs, switchable polarity, momentary or latching switching, and a USB port for MIDI capabilities.
$259 street
Electro-Harmonix Expression Pedal
This lightweight, rugged design from one of the most esteemed pedal makers of all time features a polymer housing, range control, polarity switching, and a reverse switch that allows you to change the direction of the parameter you’re controlling.
$72 street
M-Audio EX-P
Crafted out of molded plastic, this expression pedal offers a slip-resistant surface, integrated TRS cable, and a polarity switch, which allows it to work with a wide range of controllers and pedals.
$29 street
Fender Tread-Light
Created around an original Fender circuit, this combo volume/expression pedal uses top-mounted jacks in order to squeeze into cramped spaces. It includes a switchable LED light and operates on
9V battery or center negative AC Adapter.
$119 street
Boss EV-1-WL Wireless MIDI Expression Pedal
If wireless is your preferred routing solution, this expression pedal uses wireless MIDI in addition to Bluetooth, USB, and TRS to control any parameter you can think of. It also uses an iOS/Android app for even deeper editing capabilities.
$169 street
Mission Engineering SP-1
The company’s most universal expression pedal is built to handle the rigors of night-after-night rocking. It’s designed to work with nearly any digital amp, effects pedal, or MIDI controllers with a single TRS cable.
$149 street
Source Audio Dual Expression Pedal
This fully customizable pedal features two TRS outputs and a 3.5mm sensor output designed for the company’s line of SoundBlox pedals. It also includes a range adjust knob that controls the sweep of the expression sent through the outputs.
$119 street
DOD Mini Expression Pedal
Space is never an issue with this pedal. It’s only 5" long and 3" wide and built from solid steel. It also has selectable output modes (TRS, TS, or RTS) to ensure it works with nearly anything you can throw at it.
$119 street
The EL86-driven, 25-watt, single-channelThe Deputy Compact Head is the newest of Victory’s mighty mites. Although it’s generally lunchbox-sized, The Deputy looks like a proper amp head—eschewing the mostly metal, vented enclosure design used in some other Victory offerings. Created in conjunction with Pete Honoré (known to many YouTube guitar heads as Danish Pete), The Deputy Compact Head aims to span ’60s British-style clean tones and ’70s classic-rock overdrive. It’s truly compact at 15" x 8" x 7.5" and 17.6 pounds.
Dawg Daze
Other than the bijou size, which is not unusual these days, The Deputy stands out for its use of EL86 output tubes. Although it can be re-biased to use the more common EL84, Victory ships the head with a pair of new-old-stock EL86 tubes which are broadly similar to EL84s in character and output power—though capable of a little more of it from a little less voltage. They are also relatively available and affordable as NOS components. The preamp is driven by three 12AX7s. Rectification is solid-state.
The straightforward controls include gain, treble, middle, bass, reverb, and master, plus a 2-way bright switch and a 3-way voice switch. The latter is arguably more of a gain-structure switch, though gain, voice, and tone are often used interchangeably in guitar-speak. The amp’s lowest gain setting is accessed via the upper position. The middle position stacks another +6 dB of gain on top of that, and the lower position adds upper-mid and treble on top of the extra 6 dB. As for the reverb, Victory describes it as a mix of plate- and hall-type textures, and it is probably meant to sound a bit more contemporary, studio-like, and less specific than a traditional spring reverb.
The amp’s back panel includes send and return jacks for the series effects loop, two 8-ohm speaker outputs and one 16-ohm output, bias checkpoints, and a bias adjustment pot. Rather than being cathode-biased like most EL84 amplifiers, The Deputy’s EL86s are run in adjustable fixed bias, which delivers slightly tighter, firmer response from any given pair of tubes, while maximizing their output potential (all else being equal). As such, you need to check and adjust this setting when replacing the EL86s or substituting EL84s. The Deputy’s circuit is arranged on a rugged printed circuit board, the components are all high quality, and the transformers are U.K.-made.
Hot Lunch
I tested The Deputy with an open-back 1x12 cabinet equipped with a Scumback J75 and a closed-back 2x12 with Celestion M65 Creambacks. I also paired it with a Gibson ES-355, a Fender Stratocaster, a selection of overdrive pedals at the front end, and a Source Audio Collider in the effects loop for delay and reverb. Almost regardless of what’s in the mix, The Deputy is a great-sounding little head. In fact, any sense of “little” largely vanishes from consideration once you start playing it. Full, fat, deep, clear, and vintage-leaning, with a character that’s very much its own, The Deputy doesn’t care if there’s a stompbox anywhere in sight, but it’s also an excellent pedal platform.
The Deputy’s tube complement and Victory’s English origins might imply that strictly Vox-like voices emit from this diminutive head, but the circuit enables many more trans-Atlantic sounds. With the EQ dialed in right and the bright switch engaged, The Deputy will indeed cop AC-style tones on the clean and crunchy side of that spectrum. But the robust preamp voicing and fixed-bias output stage—as well as the solid-state rectification—lend a tautness that enables convincing Fender-like tones when you want them. By dialing down the middle control to around 10 o’clock with the voice in the low-gain position, the gain below noon, and master just advanced from midday, I heard pretty good Deluxe Reverb sounds. There’s certainly more than just one breed of clean to source.
On the whole, I preferred heavier amp-generated crunch and lead sounds with the voice switch in the middle position, the bright switch off, and a little bump from the midrange control. Set this way, The Deputy lends thickness to a Strat without adding harsh or spiky clipping, while the ES-355’s humbuckers are blissfully muscular and aggressive. With more conservative gain settings, the extra upper mid and high end from the brighter voice add cutting power and a shimmering, cranked-Vox-like character that plays well with many styles. Add digital reverb—which moves readily from “just a touch” to an evocative atmospheric wash—and the palette of tones at hand becomes even more impressive.
The Verdict
With an able assist from Pete Honoré, Victory has pulled off another deft design. It’s a toneful performer that can sound and feel bigger than it is. For a single-channel head, it’s crazy versatile—with or without pedals. But if you’re into economy on the equipment and cost fronts, you’re bound to be pleased with how much you can do with this high-quality, diminutive head, a cab, a guitar, and nothing else.
Victory Amplification The Deputy 25 25-watt Tube Amplifier Head
