Tweed Deluxe

[JeffB]

The only guy I could think of was Neil Young. What other artists are associated with the Tweed Deluxe or what songs are great examples of the sound of this amp?

Thanks

[Kuz]

Tons of Beatles songs, Tons of Blues songs (virtually all of Billy Gibsons with ZZTop), Joe Walsh with Jams Gang (ie Rocky Mountain Way)......

[fxdx99]

Larry Carlton's distorted sounds such as on some of his work w/Steely Dan. 335 + dual amp setup of BF and Tweed Dlux is hard to beat imho.

 

http://mr335.tv/?channel=steely&videof...teely/steelyrig

[GuitArtMan]

Tons of Beatles songs...

???

Please name one. This is the first I've ever heard of the Beatles using tweed deluxes or tweed anything for that matter. Was this the Hamburg days or something? By the time Beatlemania hit both John and George were using Voxes and later some Silver Face and maybe Black Face Fenders, but tweeds?

[NoNameBand]

My understanding from fender is: in the 60's, the Tweed Deluxe was the most used studio amp. Virtually, every studio had one and most rock n roll bands used them to get the stage sound on tape. Jimmy Page, Eric Clapton are but a couple of documented users. It was difficult, if not impossible to record a Marshall Half stack in those days. The tweed Deluxe gets the desired sound at low volume.

 

Fender quote: "The original Fender Deluxe amp of the 1950s was a medium-powered amp that found its way onto countless smokin’-hot live and recorded performances. Over the past 50 years, from Memphis to Liverpool to Austin, Texas, players of many styles have prized it for its awesome and unmistakable warmth and rich tube tone."

 

I have a '55 Tweed Deluxe. Volume and tone controls, 12 watts and a 10" Jenson speaker. Very clean and warm to about 5, after that , it starts to break up. By 7, it gets crunchy and by 11, wow (that was for you Fred). My tubes are old as are all of the parts, so mine is probably putting out somewhere between 8-10 watts. I'll se if I can find some more info.

Mark

[JeffB]

The reason Im asking is because Im trying to ID the 2nd channel of the Egnater I got. Im not sure what they were aiming at.

I dragged out the POD XT live and ran through a few amp models in there. Then it struck me that I had no real world experience of the sounds I was hearing.

Listening to Funk#49, Rocky Mountain Way is very much the sounds the 2nd channel gets. (havnt heard them for a long time. Pretty cool)

Havnt the ability, finesse or a 535 to try and cop Kid Charlemagne licks or tone though.

[tulk1]

I've got a Tweed Deluxe clone. Not my favorite amp. But I could imagine if it were the only thing around, it would be awesome. ...

[Kuz]

???

Please name one. This is the first I've ever heard of the Beatles using tweed deluxes or tweed anything for that matter. Was this the Hamburg days or something? By the time Beatlemania hit both John and George were using Voxes and later some Silver Face and maybe Black Face Fenders, but tweeds?

 

I'll let this guy do the talking (or should I say playing) for you!!!

 

Enjoy, he doesn't start talking til about 1 minute into the video.

 

[koula901]

I'll let this guy do the talking (or should I say playing) for you!!!

 

Enjoy, he doesn't start talking til about 1 minute into the video.

 

 

Nice video.

[GuitArtMan]

I'll let this guy do the talking (or should I say playing) for you!!!

 

Enjoy, he doesn't start talking til about 1 minute into the video.

 

What he plays 2 seconds of the intro "To I've got a Feeling" using a strat and a tweed deluxe and you think the Beatles used them on a ton of songs? Not trying to pick a fight, just I don't hear tweed on any Beatles songs except maybe some of the real early stuff off of Anthology, but you wouldn't have heard those if you didn't have the Anthology CD so...

The real "I've got a Feeling" using his Epiphone Casino and a Silver Face Twin Reverb:

http://www.youtube.com/watch?v=uJPmB6HqcTY

[NoNameBand]

The Tweed Deluxe. Neil Young's tone: Of course, truly effective use of feedback is enabled by the right amp and the right amp settings. The first part of the equation is achieved by a surprisingly simple, petite piece of gear: a late-1950s tweed Fender Deluxe. This little beastie, with just two volume controls and a single, shared tone control, puts out a mere 15 watts from two 6V6GT output tubes, and carries just a single 12” speaker, but has powered Neil Young’s rock sound in stadiums and arenas around the world since he acquired it in 1967 (although the sound is fed through other, larger amps and its own monitoring system in order to be heard on large stages). A raw, hot little amp, the tweed Deluxe breaks up early, with a lot of tube-induced compression at most volume levels. Up past around 11 o’clock on the dial these amps really don’t get much louder, they just saturate more, issuing increasing levels of distortion tone. (Young’s Deluxe is reported as being rebiased to use larger 6L6 output tubes; the change wouldn’t increase its volume all that much, but would most likely fatten up the lows some and give the sound more body.) The Gibson web site http://www.gibson.com/en-us/Lifestyle/Feat...20Neil%20Young/

 

10 Huge Sounds Recorded on Small Amps

http://www.gibson.com/en-us/Lifestyle/Prod...s-recorded-521/

 

Eric Clapton, The man they called God recorded his signature song, “Layla,” on Derek and the Dominoes’ 1970 Layla and Other Love Songs album through a 3-watt tweed Fender Champ combo from the 1950s, and amp originally designed for beginners and students. Big sound, small package — and that’s what it’s all about. We’ll see the Champ return, oh, once or twice more in this list. Clapton only at No. 10? Yeah. It’s a legendary recording, but probably not quite as stunning a tone as he was getting a few years before on other gear, in other settings.

 

Ted Nugent, The Nuge may be noted as one of the loudest live performers in the history of rock, but he purportedly recorded his best-known hit, “Cat Scratch Fever,” through a little tan Tolex Fender Deluxe amplifier from the early ’60s. Once that roar is on tape, “size” is judged in a totally different dimension.

 

Joe Walsh, A noted gear head, Walsh turned to one of the humblest of amps, a tweed Fender Champ, for the famous slide solo on “Rocky Mountain Way” from his 1973 solo album The Smoker You Drink, The Player You Get. This is the archetypal cranked-Champ tone, a sound that applies particularly well to slide guitar, and a theme that is echoed throughout the world of great recordings made on small amps.

 

David Evans, better known as The Edge and guitar player for U2. When it comes to amps, The Edge uses a Vox AC30 as his main amp, but also uses a Fender Deluxe Tweed. I used the same models in software to replicate his sound. Of course I also used delay and reverb, as well as placing a Screamer in there for the heavier parts of his guitar playing. http://www.gibson.com/en-us/Lifestyle/Prod...the-edges-tone/

[Kuz]

What he plays 2 seconds of the intro "To I've got a Feeling" using a strat and a tweed deluxe and you think the Beatles used them on a ton of songs? Not trying to pick a fight, just I don't hear tweed on any Beatles songs except maybe some of the real early stuff off of Anthology, but you wouldn't have heard those if you didn't have the Anthology CD so...

The real "I've got a Feeling" using his Epiphone Casino and a Silver Face Twin Reverb:

http://www.youtube.com/watch?v=uJPmB6HqcTY

 

I am not trying to argue either and frankly I don't care what they used, but one quick google search for Beatles and Fender Tweed and here are some quotes. Maybe I overstated by saying a "ton of Beatles songs" and should have said "some Beatles songs"..

 

John used a Silverface Deluxe a lot in the studio and elsewhere. Early Beatles recordings he used his old, narrow-panel Tweed 5E3 - George was using a Gibson Tweed about then I believe. McCartney was still using 'the coffin' which was a 20 watt but thunderously loud Leak mono amp through a home made box. There are tons of pics here, there and everywhere showing them using all sorts of gear.

 

As in the pic above, John used a tweed Deluxe very early on.

I have the Beatles gear book and IIRC by '68 they had transitioned from tube & solid state Vox to mostly Fender. I'd have to pull that book out again to be sure. They were tied to Vox by Brian Epstien I believe and after he passed the deal started to fade. They did use some other stuff though like Selmer. There are studio pics of Paul using a Selmer. I don't recall ever seeing a pic of them w/Marshalls.

[NoNameBand]

I am not trying to argue either and frankly I don't care what they used, but one quick google search for Beatles and Fender Tweed and here are some quotes. Maybe I overstated by saying a "ton of Beatles songs" and should have said "some Beatles songs"..

 

John used a Silverface Deluxe a lot in the studio and elsewhere. Early Beatles recordings he used his old, narrow-panel Tweed 5E3 - George was using a Gibson Tweed about then I believe. McCartney was still using 'the coffin' which was a 20 watt but thunderously loud Leak mono amp through a home made box. There are tons of pics here, there and everywhere showing them using all sorts of gear.

 

As in the pic above, John used a tweed Deluxe very early on.

I have the Beatles gear book and IIRC by '68 they had transitioned from tube & solid state Vox to mostly Fender. I'd have to pull that book out again to be sure. They were tied to Vox by Brian Epstien I believe and after he passed the deal started to fade. They did use some other stuff though like Selmer. There are studio pics of Paul using a Selmer. I don't recall ever seeing a pic of them w/Marshalls.

 

I remember seeing the Beatles on stage (TV) with a "Shure Vocal Master PA". A small 6 channel head w/ Two columns w 8" speakers in them. Imagine Shea stadium with that kind of equipment. Any body remember those? Regarding Marshall amps, I forget when Pete Townsend procured his first Marshall, but I think it was mid-late 60's and then on to Hi-Watt. When did the Beatles break up?

[GuitArtMan]

When did the Beatles break up?

Mentally/spiritually or physically? By the White album they were pretty much four individual musicians still recording together. The movie Let it Be shows some stressed out Beatles in a lot of the scenes and chronicles the break up of the Beatles as much as it did their recording process. They "officially" broke up in 1970.

[GuitArtMan]

I am not trying to argue either and frankly I don't care what they used, but one quick google search for Beatles and Fender Tweed and here are some quotes. Maybe I overstated by saying a "ton of Beatles songs" and should have said "some Beatles songs"..

 

John used a Silverface Deluxe a lot in the studio and elsewhere. Early Beatles recordings he used his old, narrow-panel Tweed 5E3 - George was using a Gibson Tweed about then I believe. McCartney was still using 'the coffin' which was a 20 watt but thunderously loud Leak mono amp through a home made box. There are tons of pics here, there and everywhere showing them using all sorts of gear.

 

As in the pic above, John used a tweed Deluxe very early on.

I have the Beatles gear book and IIRC by '68 they had transitioned from tube & solid state Vox to mostly Fender. I'd have to pull that book out again to be sure. They were tied to Vox by Brian Epstien I believe and after he passed the deal started to fade. They did use some other stuff though like Selmer. There are studio pics of Paul using a Selmer. I don't recall ever seeing a pic of them w/Marshalls.

Ok, maybe the real early stuff but I'm talking about the stuff that predates Beatlemania by several years and wouldn't be heard by the general public - only true Beatles fans. Yes John did use a Black Face Deluxe Reverb, but that is a different sound than the Tweed Deluxe. I think I have the Beatles Gear book as well - now if I can only find it...

 

Yeah they did have/use Selmers as well. No Marshalls that I am aware of, unless Clapton drug his to the studio for the While My Guitar Gently Weeps session.

[iim7v7im7]

I own a 5E3 Deluxe...

 

The 5E3 circuit is not just about it's tone, its all about touch sensitivity and feel. Some other ampos can sound similar, but few will get the feel. This because it is such a simple circuit. It is not a versatile amp, but for what it does, nothing in my opinion can touch it. As others have said, give a listen to Steely Dan The Royal Scam and listen to Carlton. Also, most of Don Felders studio work with the Eagles is with a LP and a 5E3.

 

:-)

[NoNameBand]

I own a 5E3 Deluxe...

 

The 5E3 circuit is not just about it's tone, its all about touch sensitivity and feel. Some other amps can sound similar, but few will get the feel. This because it is such a simple circuit. It is not a versatile amp, but for what it does, nothing in my opinion can touch it. As others have said, give a listen to Steely Dan The Royal Scam and listen to Carlton. Also, most of Don Felders studio work with the Eagles is with a LP and a 5E3.

 

:-)

 

Yeah, what he said! I have a "5D3" model 1955 Tweed TV front and I completely agree with the touch sensitivity of the amp. It has a lot of head room. It will go from clean to dirty just by touch and/or using the volume knob. Great amp. One of my most prized possessions.

[JeffB]

Funny thing about this thread is I was asking to find out more about my Egnater, but ended up understanding my Mesa LS better.

[ingeneri]

Legend has it that Rudy van Gelder used a 5E3 Deluxe in his studio, which would make this the recording amp on all the classic Blue Note records by guys like Burrell and Grant Green. I imagine it was probably the amp Wes used in his early studio recordings when he was still borrowing Burrell's guitar, but that's pure conjecture on my part.

 

It's interesting to contrast the clear biting sound of the Fender on the Blue Notes with the warm Gibson GA-50 sound of guys like Kessell and Hall (Tal Farlow?) that were part of the generaly white West Coast and Cool Jazz scenes.

[JeffB]

Tons of Beatles songs, Tons of Blues songs (virtually all of Billy Gibsons with ZZTop), Joe Walsh with Jams Gang (ie Rocky Mountain Way)......

This "

" has been stuck on my mind ever since Kuz's post.

I was told today not to play the riff ever again at work

[TalismanRich]

I remember seeing the Beatles on stage (TV) with a "Shure Vocal Master PA". A small 6 channel head w/ Two columns w 8" speakers in them. Imagine Shea stadium with that kind of equipment. Any body remember those? Regarding Marshall amps, I forget when Pete Townsend procured his first Marshall, but I think it was mid-late 60's and then on to Hi-Watt. When did the Beatles break up?

 

I remember the Vocal Masters. In the mid to late 60s lots of the local bands would use a pair of Voice of the Theater speakers with some type of PA head. The Shure was much more compact, and still provided a decent sound, although I don't think it could put out the shear whammy of the folded horns with those big horns. Altec Lansings were THE thing to have. I saw a Vocal Master recently in a used music store. Brought back memories. My band had the Kustom 100 PA. 4 channels, 4x8s on each side with black tuck and roll. Fit in the back of a 59 Olds Delta88 station wagon just perfectly with room for some amps and guitars.

 

Townsend got his first Marshalls around 64 or 65. He was the first one to get the 100 watt heads, and had the 8x12s cabinet that were too massive to move around. They cut them back to two 4x12s in a stack.