Fender Hunt: Tone Master? 68 Custom?

[Mincer]

It really depends on your needs. If you are currently gigging a lot, and this is a gigging amp, I love the TM's light weight and XLR out. If those are 'nice to have' but not necessary.

 

[NegativeEase]

It really depends on your needs. If you are currently gigging a lot, and this is a gigging amp, I love the TM's light weight and XLR out. If those are 'nice to have' but not necessary.

You know, if a smaller but loud gig amp is required (no IR pedal wanted) the tube based Vox AC10 is a great compromise -I have one in a light duty flight case w/ wheels and is 35 pounds all in and it checks in the belly of a plane. I was traveling with it as a failsafe for backline in 2014-2017

Love that damn amp.

 

[Mincer]

The other thing the TMs have is a power attenuator, which can take it down to 1 watt. So, 22 lbs, XLR out, & the power attenuator are reasons that these are super popular with gigging players. If I didn't play so much, I'd look at the tube amps more.

 

[jeremy]

all depends on your needs i guess. i use my old '66 deluxe reverb for almost all my gigs and im doing three or four a week right now, which honestly is too much but summer is almost over so might as well enjoy em while i can

 

[Ewizard]

I would say that the TM series stuff is very much a gigging amp. You use it till it blows up and then you get another. I think the big rub with the TM series is that it is not that much cheaper than the reissue series stuff. I feel getting the TM series is best to go with a used model. As a normal player, you should not be looking at getting a real '68 model DR or whatnot to be gigging with. You should be looking at a more disposable unit, while I would not say that the TM is the end all be all, it is surely less impactful on your bottom line than the reissue series stuff. It is more a matter of where you set in the market. If you are Joe Bonamassa, you play with real vintage amps, if you are a C national artist, you play with reissues and if you are Joe Blow, you play with disposable stuff. Not for any other reason than economy. If you want to play with the real deal, can afford to, and it doesn't matter what it costs to keep it maintained, then get the real deal.

The warning comes only that if you get the TM series stuff and you are disappointed in 5 years when it blows up and you can't fix it, at least you have been warned and can plan for it. If you are ok with that, then you know your answer. If not, then you know that you want to go another route and get a more reliable and trustworthy amp. The reissue series stuff is much more repairable than the TM series will be. If you must have the best that your money can get then you need to go with the real deal and get a '68 DR or your choice of vintage Fender.

 

[Markk]

I would say that the TM series stuff is very much a gigging amp. You use it till it blows up and then you get another. I think the big rub with the TM series is that it is not that much cheaper than the reissue series stuff. I feel getting the TM series is best to go with a used model. As a normal player, you should not be looking at getting a real '68 model DR or whatnot to be gigging with. You should be looking at a more disposable unit, while I would not say that the TM is the end all be all, it is surely less impactful on your bottom line than the reissue series stuff. It is more a matter of where you set in the market. If you are Joe Bonamassa, you play with real vintage amps, if you are a C national artist, you play with reissues and if you are Joe Blow, you play with disposable stuff. Not for any other reason than economy. If you want to play with the real deal, can afford to, and it doesn't matter what it costs to keep it maintained, then get the real deal.

The warning comes only that if you get the TM series stuff and you are disappointed in 5 years when it blows up and you can't fix it, at least you have been warned and can plan for it. If you are ok with that, then you know your answer. If not, then you know that you want to go another route and get a more reliable and trustworthy amp. The reissue series stuff is much more repairable than the TM series will be. If you must have the best that your money can get then you need to go with the real deal and get a '68 DR or your choice of vintage Fender.

Well said. Food for thought.

 

[Markk]

What about the Pro Tube series? A Twin Amp Pro Tube popped up fairly local, in quite good condition, for a bit less than half the price of a new Custom 68 Twin Reverb...

 

[NegativeEase]

I would say that the TM series stuff is very much a gigging amp. You use it till it blows up and then you get another. I think the big rub with the TM series is that it is not that much cheaper than the reissue series stuff. I feel getting the TM series is best to go with a used model. As a normal player, you should not be looking at getting a real '68 model DR or whatnot to be gigging with. You should be looking at a more disposable unit, while I would not say that the TM is the end all be all, it is surely less impactful on your bottom line than the reissue series stuff. It is more a matter of where you set in the market. If you are Joe Bonamassa, you play with real vintage amps, if you are a C national artist, you play with reissues and if you are Joe Blow, you play with disposable stuff. Not for any other reason than economy. If you want to play with the real deal, can afford to, and it doesn't matter what it costs to keep it maintained, then get the real deal.

The warning comes only that if you get the TM series stuff and you are disappointed in 5 years when it blows up and you can't fix it, at least you have been warned and can plan for it. If you are ok with that, then you know your answer. If not, then you know that you want to go another route and get a more reliable and trustworthy amp. The reissue series stuff is much more repairable than the TM series will be. If you must have the best that your money can get then you need to go with the real deal and get a '68 DR or your choice of vintage Fender.

Maybe I didn't consider he was referring to actual model year 1968 Deluxes -I read it as they were Reissues -like a 90s or more recent -

I wouldnt recommend anyone spend on an actual 1968 (55 year old amp) for transport and gigging -those should be kept at home or in studio IMO

Get a used 68 Custom Deluxe Reissue that is a couple years old for 700-850.00 with the Vintage pre and Bassmanish pre -they are fantastic.

One the best and most versatile amps ever made -cant go wrong.

But still heavier than a TM -but also ALWAYS worth repairing.

 

[Mincer]

Yeah, the 68 Custom Deluxe reissues are fantastic sounding amps. I'd consider one but for the weight and having to set up a microphone at every gig. But they sound wonderful.

 

[NegativeEase]

Yeah, the 68 Custom Deluxe reissues are fantastic sounding amps. I'd consider one but for the weight and having to set up a microphone at every gig. But they sound wonderful.

I laugh when people say they suck -like some edgy internet hot take, I think this is the opinion of someone who has never actually worked with one or broken the speaker in on one.

Because it's not a secret -the reissues can be absolutely amazing.

 

[Powdered Toast Man]

What about the Pro Tube series? A Twin Amp Pro Tube popped up fairly local, in quite good condition, for a bit less than half the price of a new Custom 68 Twin Reverb...

Does it come with a forklift to move it around? That's why those old pro Twins are cheap used.

 

[jeremy]

the old red knob and pro twins are good amps, but loud and heavy which as ptm said is why they can be had cheaper. i prefer the '68 custom models over the '65 ri models for the most part but speaker has a fair amount to do with that.

 

[Markk]

My toils have ended and the hunt for tone, for now, has ended. Thoughtt I should complete the thread.

And I bought an Orange....

Just kidding (and kinda not).

Ultimately I went with a Fender Hot Rod Blues Deluxe Reissue (oh the sweet tweed).

The LGS finally got around to getting a Custom 68 VibroChamp in for me, and I was slightly unimpressed with the sound with the amp pushed. Reverb was really nice, practically all throughout the range. Tremolo/Vibrato was quite lovely as well. Cranking to 5 o'clock was doable in the sound booth and sounded good. Past 5/6 it started to sound a bit raspy to my ears. For a bedroom amp, perfect; living room amp, also would have been ok. I kept coming back to ideas of playing with other people, especially a drummer, and had doubts whether this amp and at it's price would be the right choice. I will probably get a VibroChamp sometime down the road once the wife calms down after this spending spree.

The Twin Amp's weight slightly put me off. My TSL601 is something like 29kg/65lbs, so it's not like a Twin Amp's 34kg/75lbs would have been a super deal breaker. However, after much internet searching and forum perusing, I was hesitant about the health and longevity of the amp. Also, it not being the Reverb version irked me as my heart was set (and still sort of is) on that particular version.

Tonemasters, although very tempting with their near identical-to-tube sound quality, weight advantages, and connectivity, still presented as more of a "laptop with speakers" but at tube-amp prices. Perhaps if a jam band/tribute band ever forms up then a tonemaster is definitely the way to go.

The FHRBDR will be featured in a new amp post soon. Just waiting on some minor accessories.

Thanks to all for your input!

 

[Mincer]

Well, I am happy you found something that meets your needs. Those are great amps. It goes to show that we are a pretty diverse bunch, and all of us prioritize different things, which actually makes this a better place to seek info!

 

[LRS]

My toils have ended and the hunt for tone, for now, has ended. Thoughtt I should complete the thread.

And I bought an Orange....

Just kidding (and kinda not).

Ultimately I went with a Fender Hot Rod Blues Deluxe Reissue (oh the sweet tweed).

The LGS finally got around to getting a Custom 68 VibroChamp in for me, and I was slightly unimpressed with the sound with the amp pushed. Reverb was really nice, practically all throughout the range. Tremolo/Vibrato was quite lovely as well. Cranking to 5 o'clock was doable in the sound booth and sounded good. Past 5/6 it started to sound a bit raspy to my ears. For a bedroom amp, perfect; living room amp, also would have been ok. I kept coming back to ideas of playing with other people, especially a drummer, and had doubts whether this amp and at it's price would be the right choice. I will probably get a VibroChamp sometime down the road once the wife calms down after this spending spree.

The Twin Amp's weight slightly put me off. My TSL601 is something like 29kg/65lbs, so it's not like a Twin Amp's 34kg/75lbs would have been a super deal breaker. However, after much internet searching and forum perusing, I was hesitant about the health and longevity of the amp. Also, it not being the Reverb version irked me as my heart was set (and still sort of is) on that particular version.

Tonemasters, although very tempting with their near identical-to-tube sound quality, weight advantages, and connectivity, still presented as more of a "laptop with speakers" but at tube-amp prices. Perhaps if a jam band/tribute band ever forms up then a tonemaster is definitely the way to go.

The FHRBDR will be featured in a new amp post soon. Just waiting on some minor accessories.

Thanks to all for your input!

Happy New Amp Day! I’m a happy BDR owner as well. It’s a nice Fender amp, it has that Fender sound, albeit a little darker, a little less brittle/harsh in the top end compared to the more traditional blackface amps. My advise: whenever you’re done with the speaker (lots of lows, lots of highs, not too much in between), get your favorite Celestion flavour speaker installed and call it a day! A G12-65 is great, a V-type is fantatsic, even a V30 is very good. They’ll fill out the mids which the Special Design speaker (50W Eminence Legend type) is lacking.

Good thing about the Mexican Reissue is that they solved the overheating problems of the pcb by relocating hot resistors (no more dry solder joints which make older amps act funny) and they provided a bias pot and measuring point, which is great when swapping power tubes.

There’s one thing I strugle with myself, i.e. the drive channel would benefit from independent equaliser. The drive channel Itself is brighter than the clean channel, which can be annoying when channel switching. When the (fantastic) clean channel is set to taste, the drive channel has a little too much highs for my taste when channel switching, which makes it a little harsh. I solve that with pedals, as it’s a great pedal platform anyway. When you use the drive channel only (Blues gig), it is not an issue at all. Turn off the bright switch and reduce the presence a little and you are set.

For club gigs it’s a powerful amp with 40 Watts. For bigger stages I expand the combo with the corresponding 1x12” Fender Enclosure cab (in tweed). Upgrade the 70-80 speaker with something useful and you’re ready to go!

You might have guessed I am highly enthousiastic about this amp. IMHO you get a boutique sound for a modest price. Enjoy your new amp!

 

[Markk]

Happy New Amp Day! I’m a happy BDR owner as well. It’s a nice Fender amp, it has that Fender sound, albeit a little darker, a little less brittle/harsh in the top end compared to the more traditional blackface amps. My advise: whenever you’re done with the speaker (lots of lows, lots of highs, not too much in between), get your favorite Celestion flavour speaker installed and call it a day! A G12-65 is great, a V-type is fantatsic, even a V30 is very good. They’ll fill out the mids which the Special Design speaker (50W Eminence Legend type) is lacking.

Good thing about the Mexican Reissue is that they solved the overheating problems of the pcb by relocating hot resistors (no more dry solder joints which make older amps act funny) and they provided a bias pot and measuring point, which is great when swapping power tubes.

There’s one thing I strugle with myself, i.e. the drive channel would benefit from independent equaliser. The drive channel Itself is brighter than the clean channel, which can be annoying when channel switching. When the (fantastic) clean channel is set to taste, the drive channel has a little too much highs for my taste when channel switching, which makes it a little harsh. I solve that with pedals, as it’s a great pedal platform anyway. When you use the drive channel only (Blues gig), it is not an issue at all. Turn off the bright switch and reduce the presence a little and you are set.

For club gigs it’s a powerful amp with 40 Watts. For bigger stages I expand the combo with the corresponding 1x12” Fender Enclosure cab (in tweed). Upgrade the 70-80 speaker with something useful and you’re ready to go!

You might have guessed I am highly enthousiastic about this amp. IMHO you get a boutique sound for a modest price. Enjoy your new amp!

Literally nailed the description. Lots of lows and highs definitely. I find myself turning those down on the EQ. I have a V30, but that's going in a cab for a certain Orange head. (oh man gotta get a NAD thread going soon). I'll have to look into that Celestion.

It does sound so "boutique'ish"! Love it

 

[Mincer]

Even though I have a TM Deluxe, I'd love to get a 68 Custom one day, too. The TM is great for gigging, but the 68 would be for playing at home and recording.

 

[donaldr]

... I can occasionally crank it in the house...

Then go for the ToneMaster Deluxe Reverb. The attenuator will give you the same nice sound whatever your house situation. Look for another option when you start gigging and your TM will be your backup. I'm playing my Boss Katana at 0.5w most of the time and it's one of the best amp for an apartment. Will it last another 20 years? Don't know, don't mind. My iPhone that I paid much more will be out-of-life way sooner. And no way I would buy a rotary dial phone because I can repair it easily.

My Avid Eleven Rack is 10 years old and still going strong. There are tons of digital reverb pedals still working after 20 years. Now I'm playing my 20 years old Rocktron Voodu Valve and Peavey Classic tube power amp. Technologies worlds apart but I'm no less confident on my "used to be state of the art" digital preamp (but with a valve input stage:9.

Short story: buy the best tool for the job. And I think a ToneMaster with XLR output is a better tool for low volume (with occasional volume blast) and late night recording.

 

[Mincer]

I will say that the TM's attenuator works really well. It can easily sound like a cranked Deluxe at bedroom volumes. I use mine all the time. And all positions of the attenuator sound great.