Everything is subjective. I'm 73 and bought my Fender Super Reverb and Gibson ES-345 at Meyers Music City in Detroit in 1968 on the same day. I paid less than $1000.00 for both. I played the same rig for over 40 years. We didn't have peddles back in the early days. Just straight out playing. We really didn't need them. I lost my left hand and elbow in an accident in 2008. I stroked due to a blood clot less than a year later. I'm not complaining, that's just life. I'm now about to hand my complete rig along with an old 1972 Stratocaster to my grandson. He's earned it! I get a tear in my eye when I think of the day I pushed that Super out of the store. I enjoy watching the videos of all you young guys playing some of the old amps.
Man I am so sorry that happened to you. I wouldn’t have coped well with that. I was wiped out by a hit n run truck driver who destroyed my spine a few years ago. One of the only things that’s held me together is music and still being able to play. Can’t sit or stand for long periods anymore, but I’m grateful it’s still in my life.
@@chaos4316 At the time of the accident, I didn't cope very well. I'm also a piano player, but didn't play that for many years. My true love was the guitar. I'm playing piano again and do pretty well one handed. Life goes on. I'm sorry to hear what happened to you.I too am grateful ti be alive. Take care brother.
@@Stephen0988 Stephen, you have a great attitude. My cousin picked up a gold top back in 1976. He also still has his. He fortunately can still play. Your story also gives me hope. Thank you.
@@Stephen0988 I like it that you are able to make that choice. I wish you nothing but the Best. I remember well the old Bassman. We lived in some great years back then. I appreciate it more now than when I was young.
The whole point of the amp is to look and sound like a traditional black-face Super Reverb. If you start doing all the mods, different front panel, re-vamped eq, etc. then the entire reason for this amp would be gone.
I think the reason they kept all the features mostly the same as an original Super Reverb is because that's what everyone wants. People would be upset if they called it a Super Reverb but made all those changes you suggested. I think they'd be great features, but I think it would result in people looking down on the Tone Master series even more than some already do
The tone craze we've been living thru is nuts. We play shitty clubs every night and our job is to make things work. 99% of the nights a Vox a15 China will deliver as well as a hand-made-in-heaven amp. This boutique thing is not made for real working musicians, its maid for bedroom enthusiasts. Not critcizing Mathew cause i love his channel. All I am saying is that if you give him a mexican strat and a blues junior hes gonna make things work amazingly.
So true! Played professionally for ten years, mostly in clubs. Constantly tweeking my equipment and sound...tinkering, buying, etc. One day I realized where the weak link in my signal chain was: sitting out in the bar, drunk...I was the only one who could tell the difference in my playing or my equipment. But that's nothing new :-)
Great playing as always. I've got both Super Reverbs... tube and digital. You are absolutely correct about the benefits of the tube and the quirkiness that happens. That said, after having the TM for a few years I don't think of them as one being "better" than the other. They are just different. I appreciate the trade-offs that come with the amps. Special sonic oddities that come from the tubes are wonderful. Ease of carry, no maintenance, and volume control with digital are also wonderful. Also, for what it's worth the TM has gotten better with age (either because I got to really know my setting, and/or the speakers getting worn in.) Thanks for your candor and honesty.
I see the reliability as the biggest plus for digital. If you want nasally tube tone when pushed, the digital didn't have it. If fact its sounds like a $100 peavey. Sorry Fender. Great chops and perspective but Ill keep my Line 6 for digital and Marshall artist for all out scream.
Been playing electric guitar 50 years. Acquired TM Deluxe Reverb about 3 years ago and I absolutely love it. I’ve since purchased a second amp. Use a Fulltone OCD for high gain tones. Never use heavy tube amps again.
I have a tonemaster deluxe twin. Great amp! Also used an OCD, but couldn’t get it to sound good through the amp, at least compared to a couple of other overdrives I have.
@@jeffreysurette1901 Hi Jeffrey. You are the only one who can tell any difference. The only way any audience member could tell the difference is by seeing the 'tone master' label on the front.
I like how Matthew isn't just another paid reviewer afraid to burn bridges with a big company. He says what he really thinks and is honest. I won't name any names but there are a lot of youtubers that when a new product comes out, I'll see they've already made a video about it and I just roll my eyes not bothering to even watch it because it's going to be "the best thing ever".
Yup, when a new product comes out my feed is jammed with all these guitar tubers telling me how great it is. I don’t watch many of them and have unsubscribed to most. They’re just infomercials for the most part. Appreciate that Matthew keeps it real and that’s a big reason I watch his videos.
Keep up the great work Fender! I think Fender nailed it with the authentic aesthetic, cabinet construction, and speaker choice. I agree it's never going to sound like a tube amp, but it's as close as we can currently get to the real thing with a digital setup that's a fraction of the cost and weight of the tube version. These amps are great for those gigs where you have to walk a block to drop off your gear, climb a huge flight of stairs to get to the venue. Also, take off that "Tone Master" badge and any photo of you with the amp behind you will look just as awesome as any famous photo from the 60s of someone playing through the real thing! I don't agree that they should tinker with the Normal channel, at least aesthetically. Any features should be kept on the back of the amp. They could change the circuit to something more interesting, or add reverb (this may already be a feature), but even then they've taken away from what the amp is meant to represent. If Fender starts changing the appearance of their Tone Master amps to start adding features to the face plate, it will be a huge mistake. They already did this in the 80s and 90s and nobody wants those amps now. It will be like when Gibson thought it was a good idea to paint Les Paul's blue, change the wiring, and give them self-tuning tuners. Fender did blow it with all the '68 custom reissues because they aren't anything like the real thing. They mostly have the wrong speakers, and circuits that are only useful for people who aren't actually interested in chasing the tones of those legendary recordings from the 60s and 70s. Fender completely toyed with their '68 custom Pro Reverb. I have a 1965 Pro Reverb, although not a 1968 they're very similar, and it's the perfect amp for those bigger venues where you can benefit from the extra speakers for that 3D sound and pushing more air. Someone from marketing thought it would be a good idea to go with a 1x12 configuration, put in the wrong speaker, toy with the circuit, and then put "'68" and "Pro Reverb" in the name to trick people into thinking they're getting a classic amp, when in reality the only thing they have in common is the Fender badge, reverb tank, and product name. The 68' custom deluxe also sounds nothing like my 1969 Deluxe Reverb. In Australia, 65 reissues hold their value so much more than the '68 custom reissues. They look the best and they sound as close as you can get to the real thing.
I think you should take close look at the schematic for the 65 blackface deluxe & the schematic for the 68 deluxe custom reverb.. & the differences amount to a couple of resistor values..
Thanks for the comment! I personally think adding a few features that wouldn't take away from the sound or look but would add a ton of functionality would make it sell better. The Pro Reverb was not even a pro reverb, they just called it that. It was pretty much a flop. I'm saying keep the circuitry but add a few modern features that wouldn't affect the look or sound. Even put them on the rear like you mentioned. Better EQ controls, tone stack switch, effects loop, headphone jack, different speaker ohm inputs on rear. If you're keeping the normal channel for looks it just seems wasted. It's basically an eq change on a digital amp..
Thanks for the response@@MatthewScottmusic! I definitely agree it's wasted space, but hope if these additional features appear down the track they don't affect the aesthetic, or if they do it's in a minimal way. I think a happy medium could be achieved by repurposing the Normal channel inputs and control knobs, while maintaining the original layout and sizing, then adding any additional features like the ones you listed on the back of the amp.
Ive been using a cream Tonemaster Twin for 3 years now. My tube amps are collecting dust. I didnt want to at first, but I love it. Its the only digital mp Ive ever heard that takes pedals like a champ. I personally think the IR is the weak link.. I just mic it like my old amps. No one has ever noticed it wasnt tube until I told em.
I've had digital and solid state amps over the years. Nothing compares to a real tube amp. There's something magical that happens between all that wood, strings, and little glass bottles that just can't be replicated, it's a feel thing more than a tone thing. The kind of feel that inspires a solo that you've played a thousand times but that one time when everything is just right, that you suddenly play better than you've ever played before. Albeit the right voltages to the amp, right room dynamics, whatever. I've never had that with digital or solid state. But many times with tubes. Like you say, a compression that breathes, a tone that reacts to the voltage draws, it's magical. It inspires.
Why? Run your finger nails across a chalk board and you'll get that same digital harshness that only a ToneMaster can achieve. Except the nails on a chalkboard will sound more pleasing because its analog.
An excellent and very thoughtful review, Matthew I’ve been waiting for you to give us your take on these very interesting modern amps for some time and it’s good to see you’ve gone the extra mile to check them out. I’ve been using a TM Deluxe Reverb for the past four years and I absolutely love it. Old tube amps are great in the studio and for when volume and weight are not real considerations…lucky you! The weight of the TMs is great when you are getting on in years, though. My back - and especially my dodgy knees - thank me every time I take my TM out on a gig! I’ve got a ton of old fender tube amps and gigged them for decades. I would agree TM is close, but not exactly the same, which is pretty much what you’d expect - not least because no two old two amps is ever identical anyway. But it’s close enough and plenty good enough to take out and gig. I personally, particularly like the power attenuator, as I find on smaller gigs, l was forever being told to turn down! This way, I can get the sound, I want without annoying the FoH engineer, or the rest of my band! My number one concern about these amps is what happens when they go wrong. If you look inside them (which I bet you did) you’ll find that there are a couple of transformers and a couple of PCBs of the surface mount variety and that’s it. When these amps die, there’s not all that much you can do to mend them, unlike the good, old-fashioned handwired tube amps, or even a lot of the PCB tube amps. At the moment, though, Fender appears to be supporting them quite well. I’m on a couple of TM forums and have seen a few examples where people have had amps die on them - something of course which is far from limited to digital amps anyway. Even out of warranty, and Fender has stepped in and helped out with a replacement amp or a repair. However, I can’t help wondering how long they will continue to support these amps in this way. Obviously, at the moment, they are still a relatively new thing, so Fender is keen to give them as much of a chance to get accepted in the market as it can. I disagree about the lack of modern facilities. The whole idea was to create an amp that replicated as closely as possible the original classic Fender amps. I think, by and large, it has done that. It was important as a way of helping to get acceptance from what is a very sceptical Demographic that the amps stayed as close to the originals as possible. I personally never use an effects loop, so l find the feature set on offer perfectly adequate. The only thing I would change would be to put a speaker jack on the back of the chassis, so if you have a speaker die on you, you can plug another cab in, or equally, you can use another amp with the internal speaker. It’s a mod quite a few people have done, so I gather. One terrific practical use that I found for my TM has been in the studio, for basic tracking. With the standby switch still on, you still get an output from the IR DI output and it’s possible to use this to track a useable basic rhythm tracks in the room, with the bass going through a good DI box to get very good basic rhythm tracks without having any guitar or bass sound bleeding into the drum mics. That’s a real advantage. After all, you can always track the guitars using other amps later if you want to. All in all, I love my TMDR. Put it this way. I’ve had it four years now and played probably 120 gigs in that time - it would’ve been more, but for Covid - and I’ve not taken out anything other than this out in all that time. That’s how much I enjoy using it.
If it breaks out of warranty, it's more than likely done. Same for pedals - difficult to find a tech who would work on the digital stuff. This is consumer electronics.
Spot on, I've done the same thing for most of your reasons. Another thing, I've found living in many locals, and that is when a tube amp needs works it has gotten really hard to find qualified techs. Yeah you can ship but that just compounds and adds to the costs. Additionally, when I'm playing $125 - $225+ just for tubes per amp the choice gets easier. To your point on digital repairs, yep... seems everything has a short life. Keep rock'in
I think the comments around solid state being like digital devices today as phones, laptops, etc being easily broken and phased out are a little misleading. Laptops, phones, other devices normally die because they need support multiple different applications etc. this amp is designed to do one thing and one thing only - so it won’t have as much stress as something like a digital device. I haven’t really heard of solid state amps dying except for firmware issues which is when the support drops for the product. But how long are we realistically thinking these amps will last? 10, 20, 30 years? I know if my solid state amp lasts 10 years I will probably buy another one as GAS takes over 😂
@@markrebetzke7693 So, do this simple exercise: call up your local gear repair guys and tell them you need to repair 3 amps. A solid state Jazz Chorus, a blackface tube Fender and a digital amp. See which one they'll refuse to take. Even if it developed problems at 1/10th of the rate of a tube amp (which almost certainly isn't the case), it will last only until the 1st problem occurs.
The best solid state amp that I've ever played is a Quilter. They are on par with a good tube amp. On a budget, Peavy Bandits and a couple of their others are great. Can't go wrong with a Roland Jazz Chorus as well.
I traded my JC 40(which is a great amp) for a DeliReverb Tone Master. I’m much happier. I also have a DR and a Princeton Reverb tube amp. Used Super Reverbs for years. I love my tone master. Yes, maybe different. But every DR I’ve played has differences. The TM is so easy to dial in and volume sets for various rooms is a breeze. Sound guys love the direct out. Many benefits to the TM series.
@hopebrowning6300 man fender had some solid state bangers back in the day. A deluxe 90 is a great sounding clean amp that makes a great pedal platform especially with a Jensen in it.
@@Coolbeans1492 Got a Deluxe 112 plus last month. Lovin the big clean sound. Lead channel is cool at lower gain settings. Gigging this week with it. Eager to try it in a band mix!
Using a deluxe reverb tone master and I am totally happy. Nobody ever noticed it's a digital amp. The IR is very bad imo and it sounds very digital and not real. It's okay for gigs but not for recording. I would always use a mic though anyway. But the amp for itself is totally great. Very light weight, loud and breaks up very naturally.
Matt, Unlike the tube counterparts the attenuator simply lowers the overall volume without killing your tone. Its digital... so it just makes the current sound quieter. Its a very useful part of this amp. All that said. I bought the deluxe... owned it for a few weeks and sold it. I liked a lot about it... but it just didn't drive and solo in a pleasant enough way for me. I'll stick with my amps.
The attenuator is the most useful piece of my Deluxe Reverb TM Blonde. Set the attenuator to the room or gig and then set the front panel to whatever sound you're going for. At home I will turn it all the way down but still get a good grind at say 8 on the volume. Don't ignore the Tone Master best feature.
I give you all the respect for saying, “I don’t want to be beholden to vintage gear even though at the end of the day, I may just go back to that.” That means you have informed opinions.
Supers are the best cranked if you have a huge loft or warehouse. Cranking it up that loud at home I think will cause hearing damage. Although many oppose attenuators ,they serve a good purpose.
I have the Super and use it for gigs. I find it to be a perfect amp for live gigs, especially if you play in a lot of different sized venues. The attenuator is an invaluable feature when one week you're playing a small bar and the next week you're at a big dance hall. Plus it weighs about half as much as a tube Super, which I very much appreciate. I just feel like the benefits of playing a tube amp live just don't justify having to haul one around all the time for me. Would I choose this amp over a tube amp for recording or live playing if I had a roadie to haul around and maintain a Super? No. But for playing live where you're already using plenty of digital effects pedals, the difference between a tube Super and a Tonemaster isn't noticeable at all, especially in a full band mix. I can't help but think you came into this with your mind made up already. The Tonemaster series is a great work horse line of amps for musicians who like the modern features of a digital amp but still want the same sort of sound and configuration as a classic tube amp like a Super. If you blindfolded people and had them try to tell you which amp is which, 99.9% of people aren't going to be able to tell any difference at all, including other guitar players. I will say that I have never played a vintage tube Super, but the Tonemaster version of that is more than capable of giving great tones for players of all levels. It's not just a passable tone, it's a good tone. I really just hate that tube snobs look down on modern digital gear (and subsequently the guitarist using that gear) that gives 99% the same sound as tube gear. Drop the preconceived notions you have about digital amps and just listen to how the damn thing sounds. Most of the differences you will hear between this and a tube Super are just from your own biases in your own head. Digital amps can actually be every bit as good as tube amps these days, man. It's just a shame that people like you will hear that an amp is digital and automatically go into it thinking that it must sound bad. Apparently in the year 2023, digital technology can't even come close to matching the sounds and feel of 75+ year old technology. I just don't buy that. Digital amps have come a very, very long way, and 99.9% of people are never going to hear any noticeable difference. Obviously we would all play through vintage gear if we could all afford to buy and maintain that stuff, but the Tonemaster range is excellent at what it does and shouldn't be looked down on by tube elitists. I can't stand gatekeeping like that.
@@MatthewScottmusic I never once claimed that a Tonemaster is better than a vintage Super. I haven’t played a vintage Super, but I have played a tube Super so that’s where I’m basing my comment on. I clearly said that I know a vintage Super would sound better and that I would definitely use one if I didn’t have to deal with the thing, maintain it, carry it everywhere and all of that stuff. The point is, there is very, very little difference in a Tonemaster Super and a modern tube Super reissue. The pros of using a Tonemaster outweigh the pros of using a tube Super for me in basically every live situation. And my problem comes from the tube snobs who look down on people who use digital gear. That is my main gripe here. The belief that only lesser players use digital, not the good players. That just isn’t the case at all these days. I believe most of the difference someone will hear between a TM and a tube reissue Super in terms of which amp they think is better are mostly mental biases. There are plenty of blindfold comparisons for the TM series, and the results from those illustrate it pretty clearly. Most players could tell that the two amps they played did sound different from one another (as would be expected anyway), but both had a great sound and they couldn’t pinpoint which one was digital and which was tube. A lot of people’s perceptions are very biased towards thinking that only the tube one can sound good (I have been guilty of being biased toward tube amps as well; I’ve got several tube amps myself), but that’s just not true these days. I don’t mean to upset you or be a dick or anything, but I do think you came into this test with your mind already made up for all the reasons I already listed (and fwiw, you haven’t yet denied that that is the case). A new TM isn’t going to sound like a vintage Super, but don’t just write them off as being shitty amps for lesser players. No it isn’t a vintage Super, but yes you can get some absolutely great tones from it. So I’m not really speaking on vintage Supers, I’m speaking on the mentality of tube purists shitting on what are actually fantastic amps. Elitism just grinds my gears, and the idea that every tube amp automatically sounds better than a high end digital amp is outdated. Considering your proclivity for only ever using vintage gear, I just don’t think you have the TM a totally fair assessment or the respect it deserves. No one is really going to use a TM for studio recording, so maybe using a TM for a gig and then giving it a review would have been the better move, as that is where a TM is more at home in a band mix. The review as it is comes off as being pretty elitist, man. I’m sure you didn’t mean it that way, but that’s just the vibe I got from this video. Hope you don’t take it the wrong way.
@@johnsmith-bk4ps sure. I’m not anti-tube amps (I own a few myself), I’m just sharing my opinion on the TM series that I don’t think got a fair shake in this video.
Hey Matt. I absolutely love your videos and your honest approach to all things vintage. I am an electrical engineer, professional acoustical consultant and part-time musician. In the last 10 years I have gotten into building tube amplifiers after years of hot-rodding amps and building pedals back in my college days. I have to say, your assessment of that digital harshness and lack of sustain (saturation compression) is spot-on. I don't understand why the bit-twiddlers can't get the digital algorithms correct, but they really still aren't the same thing as being plugged into a tube amp.....there is a natural feel, sound and predictable response one gets from plugging into an analog circuit of technology that dates back to earliest form of amplification. And once a guitar player becomes accustomed to that type of playing, nothing really compares (yet). I am optimistic that someday the bit-twiddlers will get it right.....maybe when they find experienced guitar players such as yourself who can speak digital signal processing, etc? Thanks for your youtube channel. Keep up the great work!
Can't disagree more! Rest them old bones is fantastic. I wish I had a good enough ear so I could learn to play the whole thing myself. Wonderful album.@@MatthewScottmusic
By 1:35 I don’t know how to explain it other than I hear that there is no dynamics, there’s a missing connection between your fingers and what’s coming out of the amp. I try hard to like the transistor amps but nothing can compete with Tube amps. 🤷🏻♂️
I had one. For a bit. Great without pedals, great clean and quiet. I'm glad your review was realistic. The benefit of late on the scene - the hype has evaporated
When I bought a Deluxe Reverb reissue in 2016, all the talk was "do they sound like 1965?" Of course not, the reissues are more modern. New Tone Masters sound even more modern. Back in the 1960s the standard was tinny AM radio from a worn out single speaker mounted in a metal car dash. Of course, Mr. Scott is a refreshing Blast from the Past and most certainly thrives with tubes.
A good review-- thanks! Gotta disagree with you regarding the headphone jack/effects loop/dropping the Normal channel... Fender's intent was to recreate the original tube amp-- which didn't have those features. Inclusion of the bare minimum modern touches (attenuator and DI) are things musicians can actually use, without taking the modern thing too far-- and getting further from the original amp. Fender offers the Tone Master Pro for those who want headphones, and all the techie stuff. That's my take anyway LOL! Current Super Reverb TM cabinets are a lightweight plywood... perhaps at introduction they were pine? The Twin & Deluxe are indeed pine. Personally I was not a fan when these were released, but the more I considered it-- and played through one (a Deluxe) the more these make sense. Light weight, no tubes to fuss with, no maintenance required, no crazy rattles to hunt down (at least extremely few compared to an old tube model)-- and they sound great! Think of it this way: a tube version will in a few years of use require the user to find a good set of quality tubes (tougher these days, and getting worse), purchase the set, have them installed/biased, and pay for the labor (unless you have the skill for DIY)-- you'll be getting pretty close to the purchase prices of a new Tone Master. So if the TM survives 2-4 years of regular use, it will more than pay for itself and you don't have to fuss with the problems associated with tube amps-- not to mention the TM is half the weight of the tube version. And again, these sound great!
Good Day Matthew. A little over a year ago, I finally bought a New 65' Reissue Super Reverb. I've wanted one for a long time. Don't know why I haven't bought one years or decades ago. About 2 years ago, I bought a new ToneMaster Twin Reverb. I, like yourself, love "Toys". I'm quite pleased with both amps. As always, your review and comments are excellent. I agree that Fender could have updated this amp with some other goodies. Maybe a Master Volume? One of those might be nice on my 65' Reissue Super. Yes, I'm a Fan. Thank You and Best Regards Always. Tim
I feel that a tube amp is a living, breathing part of your sound. A partner that you are having a conversation with. I think there are some very good solid state amps out there now (mine is a Blues Cube Hot) and they sound terrific. I wish Fender would offer this TM Super as a 1X15 then I'd be interested. I have some ideas for a perfect amp for country and blues players but Fender would never go for it.
yes, Taylor, I lost the use of my left arm for a year until I had a neck surgery which saved my life (getting back parcial use) 20 years ago but now my left arm is acting up again.
Hi Matthew, having heard and watched many of your videos. I’m happy you have taken this digital TM for a spin. IMO it fell short of what tone I have been hearing from you all along. That said this amp has its pros and cons like any other tube, transistor and/or digital platforms. I love this amp for 2 reasons: 1. The vintage look and 2. The weight. As far as sound, tone and sustain? It works fine for a compromise . In the end, It’s difference from the vintage becomes a personal thing. I’ve been using digital and modeling amps for years due to being disabled. Lighter for me means I can carry my rig with my power chair and set up independently anytime I need too. My current amp is the Fender GTX 50. This one does way more without breaking the bank! Compared to my Blues Jr and 70´s Pro reverb the GTX works better for me in every instance. Next for me will be a digital floorboard such as the Headrush Core. Love all your content and especially your playing. Many thanks for your contribution to my musical journey and growth. ✌🏻
4:00 This makes a lot of sense for a solid state version. It’s not a sacred cow at that point. You can still have a tube vintage re-issue but have more modern features on something like this.
Ive given up my big marshalls for a boss katana 100 mk 1 combo, it does the job very well, its great for what i do now half a dozen pub gigs and parties a year, pratcise at home etc very portable and reliable, and it only cost £150, cant bring myself to sell the marshalls yet though
Its a good compromise. Reliability and consistency in exchange for a little old school magic. It’s like an old car. They’re fun to drive every once in a while but I’d pick my new VW GTI over my old Alfa GTV for my daily drive 9 times out of 10.
I'm not here to say what is better or best for anyone else and I'm amazed at how they get better and better at the modeling. For me the amp is so much a part of the electric guitar that the two really work as one and I don't hear that interaction with any modeling amp. Younger folks are growing up never experiencing the analog world but to me you owe it to yourself as an electric guitar player to experience playing through a cranked amp. It sends chills up and down my spine every time.
I ordered the Tone Master '59 Bassman due out in October 2024. It has Convolution Reverb, a Vintage/Tight switch for smoother bass response and a post-power amp effects loop with footswitch operated bypass. The effects loop has a clipping indicator. The Convolution Reverb is after the effects loop in the signal chain. The Reverb and the Effects Loop are foot-switchable with the included footswitch. The '59 Tone Master Bassman has Four 10” Jensen P-10R Alnico Speakers.
Hey Matt, I'm a gigging musician I have lot's cool vintage amps mostly Fenders.. I have a Dumble clone that's unreal but I only use it in my studio as with my vintage Fenders. My Point, I bought a Tone Master Twin Reverb blonde with cream backs and I use the IR's live and it's really the perfect road amp for me as I play Guitar and Steel. I've played it a ton and it's all broken in now, still use it only live however,, I use the Vintage stuff in my Studio exclusively ... Thanks man for the review..
Having the two channels is actually useful. You can run a floor switcher with each channel being fed a different effects chain, thus creating a natural blending of two simultaneous sounds. The Normal channel can be fed with effects, while channel two can be the OD / Distortion channel.
such an inspiration. original guitar mastery. he is gonna be up there influencing the next gen once he gets famous and then everyone realizing he's actually him will be yeah obviously he was always gonna be. mark my words.
Excellent, even handed, review. Reminds me of getting a digital camera. Or a new pair of skis. Or a new guitar. Just need to learn how to surf the waves all over again.
1962 mu Father bought me a FENDER JAGUAR. 1963 my Father bought me a FENDER SUPER REVERB. I still have the JAGUAR. In 1968 my Father bought me a DUAL SHOWMAN Silver face. I still have the Dual Showman.
Man, it looks like you are looking for a Cyber-Super! I have owned a Cyber Twin since it came out (along with my tube Twin), and the awesome it was, I am not regretting having replaced it with a Tone Master Super Reverb. No need of tweeking, just a digital version of a great amp
I’m a novice electrician and I would say that it is a misnomer to call the sound digital. The guitar signal is an alternating current which is enhanced by using direct current in the amplifier. It does not change into a digital signal whether you use a tube or a transistor. The only way the sound is changed into a digital sound is if it is processed by a computer microprocessor or stored in digital format by a computer. A digital sound is created by converting the alternating current into ones and zeros which clips off part of the waveform. A transistor simply passes the AC sound wave through the circuit at a higher volume. The Wah pedal or effect pedals can change the sound into a harsher and nearly digital signal if they use 555 timers or microprocessors in the circuit. If you use these effect pedals with a tube amplifier then you may be sending a digital signal through the amp and ruining your warm and smooth tone. It’s all about the signal and nothing to do with the amplification. Maybe that is why Fender provides the Normal clean channel which removes any effects from the signal. ChatGPT says that a transistor itself doesn’t convert AC signals into digital waveforms. The process of converting an AC signal to a digital waveform typically involves more complex components like logic gates and can be part of a larger system such as an analog-to-digital converter (ADC). Modern transistor guitar amplifiers can sometimes be perceived as sounding "digital" when compared to vacuum tube amplifiers due to the inherent differences in their signal processing characteristics. Transistor amplifiers use solid-state components, which can produce a more accurate and linear amplification. This accuracy may result in a sound that some people describe as "clean" or "sterile" compared to the warmth and non-linear distortion characteristics of vacuum tubes in traditional amplifiers. The subjective preference for the tonal characteristics of vacuum tubes contributes to the perception of transistor amplifiers as sounding more digital. That being said, I think the harsh sounds from modern amps may be attributed the transistors because of their rapid on-off switching and efficient current flow as opposed to the physical way that a vacuum tube excites the electrons. Other things like output transformers, newer tight speakers, and output tube sag also contribute to the sound differences.
Great job Matt ! Thx for trying this piece of new Fenders. I bought it last year and to me, it sounds very well with pedals. It's an incredible deal to make it sounds with different stuff. The clear sound is very efficient and respects the original tone of Fender amps (very close). I agree with you about things sounding different with Fender tubes amp but i found the real value buying this one : the XLR out with his own volume knob is very cool on stage and I can grab it with one finger HaHa ! I also managed to get that sustain with good feedback sometimes. But the most important is : It's a fabulous amp plateform for my pedal rig. Four Jensen speakers very good in any situation.
I’ve been using one of these for a while now when I needed something quick that would be louder than my bad cat cub 15. It was exactly as I needed and my bandmate has the twin so I knew it would sound pretty good. I used it with great success for a good while but when it was pushed by my pedals it had a very weird breakup characteristic that I did not like. I recently replaced the speakers with 2 cream back and 2 wgs veteran 10s and now it sounds phenomenal much better overall. In my opinion the speakers are holding it back.
I’m a 40+ year player….I bought the TMDR blonde version 2 years ago. I gig about 30-35 times/year. When I first got it, I heard that same “digital sharpness” too, but as others have said it’s a different approach. My initial thinking was, I’ll use it for convenience, but when I really want killer tone, I will bring one of 3 tube amps I have…now that the TMDR is broken in, it’s turned into my #1…
That's sort of how I see this playing out. I had an old Johnson JM 60 modeling amp, and although I had a Deluxe Reverb re-issue, I could use the "crunch" tone on the Johnson and get pretty close, and play it at low volumes. Or...I could choose the "black face" model for cleans, or to run pedals into, and it had a bit more bass. In fairness, turned all the way up, the Deluxe was definitely better, but if anyone was over to listen or join in, it just wasn't practical. So, I've been really intrigued by the new Fender modeling amps, and how closely they reproduce the sound of their tube counterparts. What I'm finding is....most of the comparisons online are negligible by the time it's recorded, uploaded, and played through my speakers. What differences there are aren't unpleasant...just "different." But anything that was more of a "room mic" recording, and it becomes almost indistinguishable, which would lead me to believe that played live, having the adjustable volume, would be very beneficial, and especially with the attenuator, which he didn't illustrate here. Even if it meant experimenting with stacking boost and overdrive pedals to help achieve a certain sound, it would still seem to have some very obvious benefits vs. dealing with the weight of tube amps, volume considerations, and the constant concern over..."Is this the time my amp blows up and I have to plug straight into the PA?"
Clean is sweet. No fatigue. Could hear all day. Can't say the same for sawtooth. The lower the distortion the better. I'll sacrifice a fraction of the tone for less sawtooth. As to features, how much more would that raise the price?
Man you had me at the opening riff I loved it I know it's a kick-ass sounding app does it sound as good as the original probably not but is it easier to keep in shape than the original hell yeah
It certainly sounds like this does not deliver the same delicious sonic interplay you expect from a tube amp at hi volume, but I think the clean sounds, whilst being a bit short on sustain, are cool enough. Lovely playing Matthew, thanks for posting this! 🎶⭐👍
Personally I would just look at it more like a stunt double for my vintage tube amps on stage, plus the XLR is just so helpful, solves so many problems instead of micing the amp,,, tube amps are great but under risky circumstances for tubes this would be perfect Record with vintage tube amps use this for gigs , I'm pretty sure you could tweak out the "harshness" I personally would just say it's probably more Hi-Fi clarity without the "sag" of vintage response. I think this would be perfect for myself playing bar gigs and keeping my 67 bandmaster and 59 tremolux at home safe and snuggly
weber wrote a monthly column in Vintage Guitar magazine 1990's -had a circuit schematic to 'convert' a fender 135w silver-face twin to a 85w blackface twin (channel 2) and a Fender Pro (channel1). if you used an a/b/ab box, you could have the sparkle of the twin, or grit of the pro, or AB and have both. if this amp doesn't have channel switching, use an a/b box -different effects chain going into the front end of channel 1 & 2
I have a tonemaster deluxe. Its not bad but then I got my hands on a JTM head when I plug that into the bypass I added on the tonemaster ....then it sound alive and exiting. Theres just no substitute for tubes.
Sounds pretty close to me. The Super Reverb was always a gorgeous sounding amp that could cut any gig. It was super heavy, though, which would be my main reason for going with the TM. The reliability factor is big as well.
I now gig exclusively with a Deluxe Reverb Tone Master. Fender nailed it. 24 lbs. XLR out. Attenuator. The audience cannot tell the difference between it and the tube version.
@@whynottalklikeapirat Not really. My "sound" is coming mainly from my fingers, pickups, and pedalboard. Any clean amp will suffice, but especially one with these features.
@@whynottalklikeapirat I'm not compensating for anything. My tone comes largely from my guitar pickups and my pedalboard. I can get that tone with that guitar and pedalboard on virtually any clean amp. I leave my Hot Rod Deluxe at home and use my Deluxe Reverb Tone Master which is half the weight, has an attenuator that is awesome for adjusting to venue layouts, and an XLR out for convenience, plus the greater reliability of solid state vs. tubes which can also be tempermental.
The audience might not be able to tell (I say might, because you never know if there are people out there like us), but I sure can. And if I'm not happy, I will not play as well. So to me, using tubes is vital.
It’s tough when the comparison is between an amp and . . . A sound in your head. The sound in your mind generally wins. Blind AB or it’s not really a comparison.
These are great if you’re a bar band guy and just need something that looks the part and gets you 90% of the way there. If I’m playing the elks lodge or the local outdoor arts festival I’m not risking damage to the amp or someone stealing it and will bring a budget amp anyways. That being said, no they don’t nail it 100% of the way and it is lacking. My problem is the price because they’re ALOT of products out there that are convenient and will get you 90% of the way there for a lot cheaper.
It’s close, but still a significant distinction between both. Tubes ring, not to mention it picks up the dynamics between soft and aggressive much better.
It's all about the feel and interaction with the amp, more than the sounds. Because it sounds pretty good. But the playing experience is not at all the same. That's what kept me from keeping the TM Princeton. I would have loved it to replace a tube amp, but it just doesn't 😢
I swear by my twin tonemaster. Such a good live 'workmans' amp. Fyi, more 'amp like ' feel only comes when vol is north of 4.5 - 5. Then put attenuation where needed. And get that mid controll up to 8+. Love it.
I think they've overcooked the so called Black panel scoop with these, it doesn't soften into that sweet spot, it just gets louder. You could compensate with a good compressor maybe
@@MatthewScottmusic Neither is a Princeton version imo, I totally agree they could have made it so much more, especially at the price point. I just bought my second PR '76 for $1100 which is a bargain imo. My other is a real 68 drip edge
@@shckltnebay My issue is Febder should be putting a Cab Sim output on every new amp. Or make a tube pre-amp, with a solid state power amp, and cab sim DI, or have a DI that is voiced to sound like the amp it’s named for. The best guitar tone using a cab sim, was one on a Egnater Rebel 30, because it used the pre and power amp into the cab sim, and with the amp able to be silent or full volume, the FOH was the closest to my actual tone as I’ve experienced. The full amp into a good cab sim, gets the best tones. It can handle my Fuzzes and other drive stacking, that sounds like either mush or the same higher gain, overly compressed tone, so hear nearly every modeler use for leads. When the guy is working a board, it makes it easy for them.
I laughed hard about the vintage guy calling the channel layout and missing features outdated. But you are 100% on point, an FX loop is absolutely mandatory on an up to date amp, and i desparately miss it on my old Bassman 10.
Kool post I played the tone master Deluxe Reverb in the store recently and I have to say it did surprise me. I did have fun playing it. Somewhat ice picky if you know what I mean but I mean I could easily play my songs Through It and enjoy myself. But I do know the difference in feel and expression when I play an old hand-wired amp. I think I play better when I'm excited obviously I feel like I connect more I think when simulation starts getting better than the real thing someday, then we're probably not going to know at that point what the real thing is like.
I owned a TMSR for about a year and felt like I never quite bonded with it until the P10r speakers broke in, and it took months. I ended up selling it to finance a car repair, and now I have a Blonde TMTR, and it’s significantly better imo
My dad built me a 5E3 and a 6A20 tube amps, he is 85 and an ex military electronics engineer! When I asked him to build them, he told me to buy a tonemaster !
Finally someone who says how it is . I see a lot of Fender amps standing behind you so I assume you know something about it and I think that is the case because I totally agree with you !! They must ad some extra possibilities for tone management and it takes overdrive pedals not well. We are talking here about sound , not about weight , XLR output , attunator etc : no it is sound. They are amps for beginning guitar players ......... Great and honest review ; here is somebody who isn't influenced by the Fender Company .
I think a switch for the bass man /super reverb is a great idea hope fender sees this. . Iknow you love vintage gear I think it would be cool though to demo some current gear like the American pro 2 strat. Matthew have you ever tried a super sonic or a prosonic amp ??.viscious blues machine. I have a reissuesuper reverb and a supersonic . Love fender tube amps . I think it's a feel thing .the tone mastersounded good in your demo but I think it's more of a feel response thing that's lacking with digital
I do not know if in first part video. You talked about the actuator on back that you would not touch that as it changes the sound. The actuator does that by limiting total volume of amp from .5 watt to 45 watt, to get distortion full put at 45 setting. Have owned one for over 2 years played on the originals 60's Super Reverb in early 70's. They did a good job on Tonemaster, tube amps are great but noisey and expensive to keep running, as I have several tube amps . Maybe try the distortion pedal and try actuator knob on back at the different settings and see if one distorts better than other. If looking for a modeling amp, try the Mustang series it has many of the effects you wanted on the Tone Master.
I've Done that ALREADY, putting them, side by side. Myself,,,I've noticed the difference between the two immediately. Tone Masters are thinner sounding amp than Tube.( To me), not as creamy & the only other thing is the light weight & they're built a tad cheaper, also less expensive,$$. Cheaper as in the chassis are not built as well, as the old school tube Fender amplifiers. Some people will disagree, to some degree, I'm only going by my experience with playing Fender amps since the '60s. But whatever makes you happy,, I think that's what's important.
@@MatthewScottmusic I’ve actually watched a couple blind side by side comparison videos and both I ended up liking the tone master version better before the reveal to my surprise.
I'll never give up my tubes amps, but I do own one of the TMSR purchased right after release on sale. I use the attenuator all the time for home practice. The cleans are good and the volume is manageable. I'd never get a tube super in its sweet spot in my home. I can play this one at edge of breakup while my kids sleep. It serves it's purpose and I got in for under 700 dollars. At that price it was a no brainer. It's the only digital amp I own but it's not bad at all.
Built my own JTM45 clone kit it sounds amazing a very sweet sounding amp I can here more harmonics coming through playing cords using clean sound and compared to my Blackstar 40w combo the JTM45 is in a class of its own.
Dear Matthew, the cab is Meranti plywood not pine. That’s also a big bummer. The Princeton and deluxe are with pine cabs. Thanks for being on the tube. your channel is refreshing!
I gotta say "Pushed" by your pedalboard I thought it sounded awesome! Not sure in a mix anyone would know that wasn't your vintage one. I notice the only thing on mine is the sustain/ feel is different then my '67 when pushed- but the big difference is I can push the TM at gigs at a volume I could never get to with my vintage amp with the "attenuator" in back. I'm still wondering if the "digital harshness" will go away over time with the speakers broken in.
“No one could tell it was digital.” No one but the player. The only person who really matters. And if the player isn’t completely immersed in glorious tone they won’t give their best performance or enjoy playing as much. I thought it sounded like trash when he plugged his board in.
Looking at amps right now, and I will have to play one in person to make a decision. It doesn't help that all of the videos I am seeing so far only have atmospheric music or clean low volume blues. Can it jam??
Everything is subjective. I'm 73 and bought my Fender Super Reverb and Gibson ES-345 at Meyers Music City in Detroit in 1968 on the same day. I paid less than $1000.00 for both. I played the same rig for over 40 years. We didn't have peddles back in the early days. Just straight out playing. We really didn't need them. I lost my left hand and elbow in an accident in 2008. I stroked due to a blood clot less than a year later. I'm not complaining, that's just life. I'm now about to hand my complete rig along with an old 1972 Stratocaster to my grandson. He's earned it! I get a tear in my eye when I think of the day I pushed that Super out of the store. I enjoy watching the videos of all you young guys playing some of the old amps.
Your grandson is a lucky guy!!
Man I am so sorry that happened to you. I wouldn’t have coped well with that. I was wiped out by a hit n run truck driver who destroyed my spine a few years ago. One of the only things that’s held me together is music and still being able to play. Can’t sit or stand for long periods anymore, but I’m grateful it’s still in my life.
@@chaos4316 At the time of the accident, I didn't cope very well. I'm also a piano player, but didn't play that for many years. My true love was the guitar. I'm playing piano again and do pretty well one handed. Life goes on. I'm sorry to hear what happened to you.I too am grateful ti be alive. Take care brother.
@@Stephen0988 Stephen, you have a great attitude. My cousin picked up a gold top back in 1976. He also still has his. He fortunately can still play. Your story also gives me hope. Thank you.
@@Stephen0988 I like it that you are able to make that choice. I wish you nothing but the Best. I remember well the old Bassman. We lived in some great years back then. I appreciate it more now than when I was young.
The whole point of the amp is to look and sound like a traditional black-face Super Reverb. If you start doing all the mods, different front panel, re-vamped eq, etc. then the entire reason for this amp would be gone.
Exactly what I thought, too
Absolutely
I think the reason they kept all the features mostly the same as an original Super Reverb is because that's what everyone wants. People would be upset if they called it a Super Reverb but made all those changes you suggested. I think they'd be great features, but I think it would result in people looking down on the Tone Master series even more than some already do
Yea lol
Guitarists are very parochial when it comes to vintage model gear.
i think we will find the bassman 59 that came out with all the things people were asking for will sell better @colbyjohnson303
The tone craze we've been living thru is nuts. We play shitty clubs every night and our job is to make things work. 99% of the nights a Vox a15 China will deliver as well as a hand-made-in-heaven amp. This boutique thing is not made for real working musicians, its maid for bedroom enthusiasts.
Not critcizing Mathew cause i love his channel. All I am saying is that if you give him a mexican strat and a blues junior hes gonna make things work amazingly.
Your audience doesn’t really care what gear you play. If your good you can make junk sound good
So true! Played professionally for ten years, mostly in clubs. Constantly tweeking my equipment and sound...tinkering, buying, etc. One day I realized where the weak link in my signal chain was: sitting out in the bar, drunk...I was the only one who could tell the difference in my playing or my equipment. But that's nothing new :-)
Great playing as always. I've got both Super Reverbs... tube and digital. You are absolutely correct about the benefits of the tube and the quirkiness that happens. That said, after having the TM for a few years I don't think of them as one being "better" than the other. They are just different. I appreciate the trade-offs that come with the amps. Special sonic oddities that come from the tubes are wonderful. Ease of carry, no maintenance, and volume control with digital are also wonderful. Also, for what it's worth the TM has gotten better with age (either because I got to really know my setting, and/or the speakers getting worn in.) Thanks for your candor and honesty.
Exactly my view of it. They are another very useful tool in the toolbox. Not better, not worse.
I wonder what it would sound like with some nice vintage speakers well broken in.
@@jamfactory4119 I’m wondering the same thing.
I see the reliability as the biggest plus for digital. If you want nasally tube tone when pushed, the digital didn't have it. If fact its sounds like a $100 peavey. Sorry Fender. Great chops and perspective but Ill keep my Line 6 for digital and Marshall artist for all out scream.
I actually prefer the TM series over Fenders current reissue models.
Been playing electric guitar 50 years. Acquired TM Deluxe Reverb about 3 years ago and I absolutely love it. I’ve since purchased a second amp. Use a Fulltone OCD for high gain tones. Never use heavy tube amps again.
I have a tonemaster deluxe twin. Great amp! Also used an OCD, but couldn’t get it to sound good through the amp, at least compared to a couple of other overdrives I have.
I have the tone master super reverb. I play through it with my American pro ll ,Strat. I love it, while realizing that the tube version is better.❤
@@jeffreysurette1901 Hi Jeffrey. You are the only one who can tell any difference. The only way any audience member could tell the difference is by seeing the 'tone master' label on the front.
I like how Matthew isn't just another paid reviewer afraid to burn bridges with a big company. He says what he really thinks and is honest. I won't name any names but there are a lot of youtubers that when a new product comes out, I'll see they've already made a video about it and I just roll my eyes not bothering to even watch it because it's going to be "the best thing ever".
I just try to be realistic. I'm not here to give a proper review or demo but just show how I would use it.
All of them at the same time, like a retail choir!
agreed,,,pointless reviews,,,I usually stop watching once I hear "I was not paid by, but they sent me this amp",,,,all I hear is BULLSH**!
All part of The Money Game - Shame. 🙂
Yup, when a new product comes out my feed is jammed with all these guitar tubers telling me how great it is. I don’t watch many of them and have unsubscribed to most. They’re just infomercials for the most part. Appreciate that Matthew keeps it real and that’s a big reason I watch his videos.
Keep up the great work Fender!
I think Fender nailed it with the authentic aesthetic, cabinet construction, and speaker choice. I agree it's never going to sound like a tube amp, but it's as close as we can currently get to the real thing with a digital setup that's a fraction of the cost and weight of the tube version. These amps are great for those gigs where you have to walk a block to drop off your gear, climb a huge flight of stairs to get to the venue. Also, take off that "Tone Master" badge and any photo of you with the amp behind you will look just as awesome as any famous photo from the 60s of someone playing through the real thing!
I don't agree that they should tinker with the Normal channel, at least aesthetically. Any features should be kept on the back of the amp. They could change the circuit to something more interesting, or add reverb (this may already be a feature), but even then they've taken away from what the amp is meant to represent.
If Fender starts changing the appearance of their Tone Master amps to start adding features to the face plate, it will be a huge mistake. They already did this in the 80s and 90s and nobody wants those amps now. It will be like when Gibson thought it was a good idea to paint Les Paul's blue, change the wiring, and give them self-tuning tuners.
Fender did blow it with all the '68 custom reissues because they aren't anything like the real thing. They mostly have the wrong speakers, and circuits that are only useful for people who aren't actually interested in chasing the tones of those legendary recordings from the 60s and 70s.
Fender completely toyed with their '68 custom Pro Reverb. I have a 1965 Pro Reverb, although not a 1968 they're very similar, and it's the perfect amp for those bigger venues where you can benefit from the extra speakers for that 3D sound and pushing more air. Someone from marketing thought it would be a good idea to go with a 1x12 configuration, put in the wrong speaker, toy with the circuit, and then put "'68" and "Pro Reverb" in the name to trick people into thinking they're getting a classic amp, when in reality the only thing they have in common is the Fender badge, reverb tank, and product name.
The 68' custom deluxe also sounds nothing like my 1969 Deluxe Reverb. In Australia, 65 reissues hold their value so much more than the '68 custom reissues. They look the best and they sound as close as you can get to the real thing.
I think you should take close look at the schematic for the 65 blackface deluxe & the schematic for the 68 deluxe custom reverb.. & the differences amount to a couple of resistor values..
Thanks for the comment! I personally think adding a few features that wouldn't take away from the sound or look but would add a ton of functionality would make it sell better. The Pro Reverb was not even a pro reverb, they just called it that. It was pretty much a flop. I'm saying keep the circuitry but add a few modern features that wouldn't affect the look or sound. Even put them on the rear like you mentioned. Better EQ controls, tone stack switch, effects loop, headphone jack, different speaker ohm inputs on rear. If you're keeping the normal channel for looks it just seems wasted. It's basically an eq change on a digital amp..
TLDR
Thanks for the response@@MatthewScottmusic! I definitely agree it's wasted space, but hope if these additional features appear down the track they don't affect the aesthetic, or if they do it's in a minimal way. I think a happy medium could be achieved by repurposing the Normal channel inputs and control knobs, while maintaining the original layout and sizing, then adding any additional features like the ones you listed on the back of the amp.
Ive been using a cream Tonemaster Twin for 3 years now. My tube amps are collecting dust. I didnt want to at first, but I love it. Its the only digital mp Ive ever heard that takes pedals like a champ. I personally think the IR is the weak link.. I just mic it like my old amps. No one has ever noticed it wasnt tube until I told em.
Champ as in Fender Champion 100?
Same!
@johnnyenglish93 no, not at all like a Champion 100.. These thing make the Champion 100s look like toys.
Quilter would change your life
@zeti_wow5357 a buddy of mine has one, and it definitely does sound great.. Honorable mention to those as well.
I've had digital and solid state amps over the years. Nothing compares to a real tube amp. There's something magical that happens between all that wood, strings, and little glass bottles that just can't be replicated, it's a feel thing more than a tone thing. The kind of feel that inspires a solo that you've played a thousand times but that one time when everything is just right, that you suddenly play better than you've ever played before. Albeit the right voltages to the amp, right room dynamics, whatever. I've never had that with digital or solid state. But many times with tubes. Like you say, a compression that breathes, a tone that reacts to the voltage draws, it's magical. It inspires.
A direct comparison between the analog and digital versions of the Amp in the same video would be helpful.
I was curious of that too!
Why? Run your finger nails across a chalk board and you'll get that same digital harshness that only a ToneMaster can achieve. Except the nails on a chalkboard will sound more pleasing because its analog.
An excellent and very thoughtful review, Matthew I’ve been waiting for you to give us your take on these very interesting modern amps for some time and it’s good to see you’ve gone the extra mile to check them out. I’ve been using a TM Deluxe Reverb for the past four years and I absolutely love it.
Old tube amps are great in the studio and for when volume and weight are not real considerations…lucky you! The weight of the TMs is great when you are getting on in years, though. My back - and especially my dodgy knees - thank me every time I take my TM out on a gig! I’ve got a ton of old fender tube amps and gigged them for decades. I would agree TM is close, but not exactly the same, which is pretty much what you’d expect - not least because no two old two amps is ever identical anyway. But it’s close enough and plenty good enough to take out and gig. I personally, particularly like the power attenuator, as I find on smaller gigs, l was forever being told to turn down! This way, I can get the sound, I want without annoying the FoH engineer, or the rest of my band!
My number one concern about these amps is what happens when they go wrong. If you look inside them (which I bet you did) you’ll find that there are a couple of transformers and a couple of PCBs of the surface mount variety and that’s it. When these amps die, there’s not all that much you can do to mend them, unlike the good, old-fashioned handwired tube amps, or even a lot of the PCB tube amps.
At the moment, though, Fender appears to be supporting them quite well. I’m on a couple of TM forums and have seen a few examples where people have had amps die on them - something of course which is far from limited to digital amps anyway. Even out of warranty, and Fender has stepped in and helped out with a replacement amp or a repair. However, I can’t help wondering how long they will continue to support these amps in this way. Obviously, at the moment, they are still a relatively new thing, so Fender is keen to give them as much of a chance to get accepted in the market as it can.
I disagree about the lack of modern facilities. The whole idea was to create an amp that replicated as closely as possible the original classic Fender amps. I think, by and large, it has done that. It was important as a way of helping to get acceptance from what is a very sceptical Demographic that the amps stayed as close to the originals as possible. I personally never use an effects loop, so l find the feature set on offer perfectly adequate. The only thing I would change would be to put a speaker jack on the back of the chassis, so if you have a speaker die on you, you can plug another cab in, or equally, you can use another amp with the internal speaker. It’s a mod quite a few people have done, so I gather.
One terrific practical use that I found for my TM has been in the studio, for basic tracking. With the standby switch still on, you still get an output from the IR DI output and it’s possible to use this to track a useable basic rhythm tracks in the room, with the bass going through a good DI box to get very good basic rhythm tracks without having any guitar or bass sound bleeding into the drum mics. That’s a real advantage. After all, you can always track the guitars using other amps later if you want to.
All in all, I love my TMDR. Put it this way. I’ve had it four years now and played probably 120 gigs in that time - it would’ve been more, but for Covid - and I’ve not taken out anything other than this out in all that time. That’s how much I enjoy using it.
If it breaks out of warranty, it's more than likely done. Same for pedals - difficult to find a tech who would work on the digital stuff. This is consumer electronics.
Spot on, I've done the same thing for most of your reasons. Another thing, I've found living in many locals, and that is when a tube amp needs works it has gotten really hard to find qualified techs. Yeah you can ship but that just compounds and adds to the costs. Additionally, when I'm playing $125 - $225+ just for tubes per amp the choice gets easier. To your point on digital repairs, yep... seems everything has a short life. Keep rock'in
I think the comments around solid state being like digital devices today as phones, laptops, etc being easily broken and phased out are a little misleading.
Laptops, phones, other devices normally die because they need support multiple different applications etc. this amp is designed to do one thing and one thing only - so it won’t have as much stress as something like a digital device. I haven’t really heard of solid state amps dying except for firmware issues which is when the support drops for the product.
But how long are we realistically thinking these amps will last? 10, 20, 30 years? I know if my solid state amp lasts 10 years I will probably buy another one as GAS takes over 😂
@@markrebetzke7693 So, do this simple exercise: call up your local gear repair guys and tell them you need to repair 3 amps. A solid state Jazz Chorus, a blackface tube Fender and a digital amp. See which one they'll refuse to take. Even if it developed problems at 1/10th of the rate of a tube amp (which almost certainly isn't the case), it will last only until the 1st problem occurs.
Run U.S. made tubes, they never wear out
The best solid state amp that I've ever played is a Quilter. They are on par with a good tube amp. On a budget, Peavy Bandits and a couple of their others are great. Can't go wrong with a Roland Jazz Chorus as well.
Roland jc might just be the best pedal platform of them all
I traded my JC 40(which is a great amp) for a DeliReverb Tone Master. I’m much happier. I also have a DR and a Princeton Reverb tube amp. Used Super Reverbs for years. I love my tone master. Yes, maybe different. But every DR I’ve played has differences. The TM is so easy to dial in and volume sets for various rooms is a breeze. Sound guys love the direct out. Many benefits to the TM series.
@hopebrowning6300 man fender had some solid state bangers back in the day. A deluxe 90 is a great sounding clean amp that makes a great pedal platform especially with a Jensen in it.
@@Coolbeans1492 Got a Deluxe 112 plus last month. Lovin the big clean sound. Lead channel is cool at lower gain settings. Gigging this week with it. Eager to try it in a band mix!
I love my Quilter Mach 3 combo amp.
Always enjoy your videos Matt. The new stuff just doesn’t compare to the old stuff. Those old tweeds and twin reverbs, etc, were the best IMO
I'm very much convinced now.
Using a deluxe reverb tone master and I am totally happy. Nobody ever noticed it's a digital amp. The IR is very bad imo and it sounds very digital and not real. It's okay for gigs but not for recording. I would always use a mic though anyway. But the amp for itself is totally great. Very light weight, loud and breaks up very naturally.
Matt, Unlike the tube counterparts the attenuator simply lowers the overall volume without killing your tone. Its digital... so it just makes the current sound quieter. Its a very useful part of this amp. All that said. I bought the deluxe... owned it for a few weeks and sold it. I liked a lot about it... but it just didn't drive and solo in a pleasant enough way for me. I'll stick with my amps.
The attenuator is the most useful piece of my Deluxe Reverb TM Blonde. Set the attenuator to the room or gig and then set the front panel to whatever sound you're going for. At home I will turn it all the way down but still get a good grind at say 8 on the volume. Don't ignore the Tone Master best feature.
My Tonemaster Dlx Reverb is my favorite amp I’ve ever used, and I’ve used a LOT.
Mathew , I love the way you play and os gifted, thanks for keeping the "Rock n Roll Soul " alive .
I give you all the respect for saying, “I don’t want to be beholden to vintage gear even though at the end of the day, I may just go back to that.” That means you have informed opinions.
You don't think he's going to keep or buy that p.o.s do you, lol?
Dude, your playing is just top notch. Amp review aside, you are one of the most stylistic guitar slingers out their imho.
Tory Slusher is musical, original, and blows everybody away…….check her out. Warning: after seeing her you might quit and sell everything.
Supers are the best cranked if you have a huge loft or warehouse. Cranking it up that loud at home I think will cause hearing damage. Although many oppose attenuators ,they serve a good purpose.
A friend at a small gig fooled us a bit by pulling the Tone Master badge off..
Thanks! Still waiting on the Fender 1963 Mathew Scott Stratocaster!
Thanks Jasper. Someday right 😂👍🏻
I have the Super and use it for gigs. I find it to be a perfect amp for live gigs, especially if you play in a lot of different sized venues. The attenuator is an invaluable feature when one week you're playing a small bar and the next week you're at a big dance hall. Plus it weighs about half as much as a tube Super, which I very much appreciate. I just feel like the benefits of playing a tube amp live just don't justify having to haul one around all the time for me. Would I choose this amp over a tube amp for recording or live playing if I had a roadie to haul around and maintain a Super? No. But for playing live where you're already using plenty of digital effects pedals, the difference between a tube Super and a Tonemaster isn't noticeable at all, especially in a full band mix.
I can't help but think you came into this with your mind made up already. The Tonemaster series is a great work horse line of amps for musicians who like the modern features of a digital amp but still want the same sort of sound and configuration as a classic tube amp like a Super. If you blindfolded people and had them try to tell you which amp is which, 99.9% of people aren't going to be able to tell any difference at all, including other guitar players. I will say that I have never played a vintage tube Super, but the Tonemaster version of that is more than capable of giving great tones for players of all levels. It's not just a passable tone, it's a good tone.
I really just hate that tube snobs look down on modern digital gear (and subsequently the guitarist using that gear) that gives 99% the same sound as tube gear. Drop the preconceived notions you have about digital amps and just listen to how the damn thing sounds. Most of the differences you will hear between this and a tube Super are just from your own biases in your own head. Digital amps can actually be every bit as good as tube amps these days, man. It's just a shame that people like you will hear that an amp is digital and automatically go into it thinking that it must sound bad. Apparently in the year 2023, digital technology can't even come close to matching the sounds and feel of 75+ year old technology. I just don't buy that. Digital amps have come a very, very long way, and 99.9% of people are never going to hear any noticeable difference. Obviously we would all play through vintage gear if we could all afford to buy and maintain that stuff, but the Tonemaster range is excellent at what it does and shouldn't be looked down on by tube elitists. I can't stand gatekeeping like that.
Thanks for the comment. But my friend, you admitted you've never played a vintage tube super reverb? How can you speak on it.. 😬
@@MatthewScottmusic I never once claimed that a Tonemaster is better than a vintage Super. I haven’t played a vintage Super, but I have played a tube Super so that’s where I’m basing my comment on. I clearly said that I know a vintage Super would sound better and that I would definitely use one if I didn’t have to deal with the thing, maintain it, carry it everywhere and all of that stuff. The point is, there is very, very little difference in a Tonemaster Super and a modern tube Super reissue. The pros of using a Tonemaster outweigh the pros of using a tube Super for me in basically every live situation.
And my problem comes from the tube snobs who look down on people who use digital gear. That is my main gripe here. The belief that only lesser players use digital, not the good players. That just isn’t the case at all these days. I believe most of the difference someone will hear between a TM and a tube reissue Super in terms of which amp they think is better are mostly mental biases. There are plenty of blindfold comparisons for the TM series, and the results from those illustrate it pretty clearly. Most players could tell that the two amps they played did sound different from one another (as would be expected anyway), but both had a great sound and they couldn’t pinpoint which one was digital and which was tube. A lot of people’s perceptions are very biased towards thinking that only the tube one can sound good (I have been guilty of being biased toward tube amps as well; I’ve got several tube amps myself), but that’s just not true these days.
I don’t mean to upset you or be a dick or anything, but I do think you came into this test with your mind already made up for all the reasons I already listed (and fwiw, you haven’t yet denied that that is the case). A new TM isn’t going to sound like a vintage Super, but don’t just write them off as being shitty amps for lesser players. No it isn’t a vintage Super, but yes you can get some absolutely great tones from it. So I’m not really speaking on vintage Supers, I’m speaking on the mentality of tube purists shitting on what are actually fantastic amps. Elitism just grinds my gears, and the idea that every tube amp automatically sounds better than a high end digital amp is outdated. Considering your proclivity for only ever using vintage gear, I just don’t think you have the TM a totally fair assessment or the respect it deserves. No one is really going to use a TM for studio recording, so maybe using a TM for a gig and then giving it a review would have been the better move, as that is where a TM is more at home in a band mix. The review as it is comes off as being pretty elitist, man. I’m sure you didn’t mean it that way, but that’s just the vibe I got from this video. Hope you don’t take it the wrong way.
The tube amp will be passed down for generations and still operate
@@johnsmith-bk4ps sure. I’m not anti-tube amps (I own a few myself), I’m just sharing my opinion on the TM series that I don’t think got a fair shake in this video.
So reason why I like the tone master is just because of the built in attenuator, it’s really useful for cranking an amp at bedroom levels
It does that but I would never use it.
@@MatthewScottmusic Yeah it seems like you have no problems with cranking it at huge levels and trust me, we are all so happy for you
Hey Matt. I absolutely love your videos and your honest approach to all things vintage. I am an electrical engineer, professional acoustical consultant and part-time musician. In the last 10 years I have gotten into building tube amplifiers after years of hot-rodding amps and building pedals back in my college days. I have to say, your assessment of that digital harshness and lack of sustain (saturation compression) is spot-on. I don't understand why the bit-twiddlers can't get the digital algorithms correct, but they really still aren't the same thing as being plugged into a tube amp.....there is a natural feel, sound and predictable response one gets from plugging into an analog circuit of technology that dates back to earliest form of amplification. And once a guitar player becomes accustomed to that type of playing, nothing really compares (yet). I am optimistic that someday the bit-twiddlers will get it right.....maybe when they find experienced guitar players such as yourself who can speak digital signal processing, etc? Thanks for your youtube channel. Keep up the great work!
Rest Them Old Bones is sooooooo good. I can't pick a favorite song though. You managed to make a perfect debut album, start to finish.
Man thanks, the furthest thing from perfect. But done was better than perfect 👍🏻
Can't disagree more! Rest them old bones is fantastic. I wish I had a good enough ear so I could learn to play the whole thing myself. Wonderful album.@@MatthewScottmusic
By 1:35 I don’t know how to explain it other than I hear that there is no dynamics, there’s a missing connection between your fingers and what’s coming out of the amp. I try hard to like the transistor amps but nothing can compete with Tube amps. 🤷🏻♂️
I had one. For a bit. Great without pedals, great clean and quiet. I'm glad your review was realistic. The benefit of late on the scene - the hype has evaporated
When I bought a Deluxe Reverb reissue in 2016, all the talk was "do they sound like 1965?" Of course not, the reissues are more modern. New Tone Masters sound even more modern. Back in the 1960s the standard was tinny AM radio from a worn out single speaker mounted in a metal car dash. Of course, Mr. Scott is a refreshing Blast from the Past and most certainly thrives with tubes.
A good review-- thanks! Gotta disagree with you regarding the headphone jack/effects loop/dropping the Normal channel... Fender's intent was to recreate the original tube amp-- which didn't have those features. Inclusion of the bare minimum modern touches (attenuator and DI) are things musicians can actually use, without taking the modern thing too far-- and getting further from the original amp. Fender offers the Tone Master Pro for those who want headphones, and all the techie stuff. That's my take anyway LOL! Current Super Reverb TM cabinets are a lightweight plywood... perhaps at introduction they were pine? The Twin & Deluxe are indeed pine. Personally I was not a fan when these were released, but the more I considered it-- and played through one (a Deluxe) the more these make sense. Light weight, no tubes to fuss with, no maintenance required, no crazy rattles to hunt down (at least extremely few compared to an old tube model)-- and they sound great! Think of it this way: a tube version will in a few years of use require the user to find a good set of quality tubes (tougher these days, and getting worse), purchase the set, have them installed/biased, and pay for the labor (unless you have the skill for DIY)-- you'll be getting pretty close to the purchase prices of a new Tone Master. So if the TM survives 2-4 years of regular use, it will more than pay for itself and you don't have to fuss with the problems associated with tube amps-- not to mention the TM is half the weight of the tube version. And again, these sound great!
Good Day Matthew. A little over a year ago, I finally bought a New 65' Reissue Super Reverb. I've wanted one for a long time. Don't know why I haven't bought one years or decades ago. About 2 years ago, I bought a new ToneMaster Twin Reverb. I, like yourself, love "Toys". I'm quite pleased with both amps.
As always, your review and comments are excellent. I agree that Fender could have updated this amp with some other goodies. Maybe a Master Volume? One of those might be nice on my 65' Reissue Super. Yes, I'm a Fan. Thank You and Best Regards Always. Tim
I feel that a tube amp is a living, breathing part of your sound. A partner that you are having a conversation with. I think there are some very good solid state amps out there now (mine is a Blues Cube Hot) and they sound terrific.
I wish Fender would offer this TM Super as a 1X15 then I'd be interested.
I have some ideas for a perfect amp for country and blues players but Fender would never go for it.
love my blues cube hot!!
1x15...fun winter project!
yes, Taylor, I lost the use of my left arm for a year until I had a neck surgery which saved my life (getting back parcial use) 20 years ago but now my left arm is acting up again.
Great demo of why I’m sticking to my tube amps 👍
Hi Matthew, having heard and watched many of your videos. I’m happy you have taken this digital TM for a spin. IMO it fell short of what tone I have been hearing from you all along. That said this amp has its pros and cons like any other tube, transistor and/or digital platforms. I love this amp for 2 reasons: 1. The vintage look and 2. The weight. As far as sound, tone and sustain? It works fine for a compromise . In the end, It’s difference from the vintage becomes a personal thing.
I’ve been using digital and modeling amps for years due to being disabled. Lighter for me means I can carry my rig with my power chair and set up independently anytime I need too.
My current amp is the Fender GTX 50. This one does way more without breaking the bank! Compared to my Blues Jr and 70´s Pro reverb the GTX works better for me in every instance. Next for me will be a digital floorboard such as the Headrush Core.
Love all your content and especially your playing. Many thanks for your contribution to my musical journey and growth. ✌🏻
4:00 This makes a lot of sense for a solid state version. It’s not a sacred cow at that point. You can still have a tube vintage re-issue but have more modern features on something like this.
Ive given up my big marshalls for a boss katana 100 mk 1 combo, it does the job very well, its great for what i do now half a dozen pub gigs and parties a year, pratcise at home etc very portable and reliable, and it only cost £150, cant bring myself to sell the marshalls yet though
Its a good compromise. Reliability and consistency in exchange for a little old school magic. It’s like an old car. They’re fun to drive every once in a while but I’d pick my new VW GTI over my old Alfa GTV for my daily drive 9 times out of 10.
I'm not here to say what is better or best for anyone else and I'm amazed at how they get better and better at the modeling. For me the amp is so much a part of the electric guitar that the two really work as one and I don't hear that interaction with any modeling amp. Younger folks are growing up never experiencing the analog world but to me you owe it to yourself as an electric guitar player to experience playing through a cranked amp. It sends chills up and down my spine every time.
You are correct. I have a Princeton Reverb Tone Master. It's good considering but not great. I play my tube amp more that the digital by far.
I keep staring at that LP junior in the background. Looks like its done maybe?
I ordered the Tone Master '59 Bassman due out in October 2024. It has Convolution Reverb, a Vintage/Tight switch for smoother bass response and a post-power amp effects loop with footswitch operated bypass. The effects loop has a clipping indicator. The Convolution Reverb is after the effects loop in the signal chain. The Reverb and the Effects Loop are foot-switchable with the included footswitch. The '59 Tone Master Bassman has Four 10” Jensen P-10R Alnico Speakers.
Hey Matt, I'm a gigging musician I have lot's cool vintage amps mostly Fenders.. I have a Dumble clone that's unreal but I only use it in my studio as with my vintage Fenders. My Point, I bought a Tone Master Twin Reverb blonde with cream backs and I use the IR's live and it's really the perfect road amp for me as I play Guitar and Steel. I've played it a ton and it's all broken in now, still use it only live however,, I use the Vintage stuff in my Studio exclusively ... Thanks man for the review..
Having the two channels is actually useful. You can run a floor switcher with each channel being fed a different effects chain, thus creating a natural blending of two simultaneous sounds. The Normal channel can be fed with effects, while channel two can be the OD / Distortion channel.
such an inspiration. original guitar mastery. he is gonna be up there influencing the next gen once he gets famous and then everyone realizing he's actually him will be yeah obviously he was always gonna be. mark my words.
Excellent, even handed, review. Reminds me of getting a digital camera. Or a new pair of skis. Or a new guitar. Just need to learn how to surf the waves all over again.
1962 mu Father bought me a FENDER JAGUAR. 1963 my Father bought me a FENDER SUPER REVERB. I still have the JAGUAR. In 1968 my Father bought me a DUAL SHOWMAN Silver face. I still have the Dual Showman.
Where do live? Have you got a steep driveway?
Man, it looks like you are looking for a Cyber-Super! I have owned a Cyber Twin since it came out (along with my tube Twin), and the awesome it was, I am not regretting having replaced it with a Tone Master Super Reverb.
No need of tweeking, just a digital version of a great amp
I’m a novice electrician and I would say that it is a misnomer to call the sound digital. The guitar signal is an alternating current which is enhanced by using direct current in the amplifier. It does not change into a digital signal whether you use a tube or a transistor. The only way the sound is changed into a digital sound is if it is processed by a computer microprocessor or stored in digital format by a computer. A digital sound is created by converting the alternating current into ones and zeros which clips off part of the waveform. A transistor simply passes the AC sound wave through the circuit at a higher volume. The Wah pedal or effect pedals can change the sound into a harsher and nearly digital signal if they use 555 timers or microprocessors in the circuit. If you use these effect pedals with a tube amplifier then you may be sending a digital signal through the amp and ruining your warm and smooth tone. It’s all about the signal and nothing to do with the amplification. Maybe that is why Fender provides the Normal clean channel which removes any effects from the signal.
ChatGPT says that a transistor itself doesn’t convert AC signals into digital waveforms. The process of converting an AC signal to a digital waveform typically involves more complex components like logic gates and can be part of a larger system such as an analog-to-digital converter (ADC).
Modern transistor guitar amplifiers can sometimes be perceived as sounding "digital" when compared to vacuum tube amplifiers due to the inherent differences in their signal processing characteristics. Transistor amplifiers use solid-state components, which can produce a more accurate and linear amplification. This accuracy may result in a sound that some people describe as "clean" or "sterile" compared to the warmth and non-linear distortion characteristics of vacuum tubes in traditional amplifiers. The subjective preference for the tonal characteristics of vacuum tubes contributes to the perception of transistor amplifiers as sounding more digital.
That being said, I think the harsh sounds from modern amps may be attributed the transistors because of their rapid on-off switching and efficient current flow as opposed to the physical way that a vacuum tube excites the electrons. Other things like output transformers, newer tight speakers, and output tube sag also contribute to the sound differences.
Great job Matt ! Thx for trying this piece of new Fenders. I bought it last year and to me, it sounds very well with pedals. It's an incredible deal to make it sounds with different stuff. The clear sound is very efficient and respects the original tone of Fender amps (very close). I agree with you about things sounding different with Fender tubes amp but i found the real value buying this one : the XLR out with his own volume knob is very cool on stage and I can grab it with one finger HaHa ! I also managed to get that sustain with good feedback sometimes. But the most important is : It's a fabulous amp plateform for my pedal rig. Four Jensen speakers very good in any situation.
I’ve been using one of these for a while now when I needed something quick that would be louder than my bad cat cub 15. It was exactly as I needed and my bandmate has the twin so I knew it would sound pretty good. I used it with great success for a good while but when it was pushed by my pedals it had a very weird breakup characteristic that I did not like. I recently replaced the speakers with 2 cream back and 2 wgs veteran 10s and now it sounds phenomenal much better overall. In my opinion the speakers are holding it back.
Would like an efx loop on my tubed super .
Always Injoy your playing whichever amp your on.
What a great wah is this, which model ?
I’m a 40+ year player….I bought the TMDR blonde version 2 years ago. I gig about 30-35 times/year. When I first got it, I heard that same “digital sharpness” too, but as others have said it’s a different approach. My initial thinking was, I’ll use it for convenience, but when I really want killer tone, I will bring one of 3 tube amps I have…now that the TMDR is broken in, it’s turned into my #1…
That's sort of how I see this playing out. I had an old Johnson JM 60 modeling amp, and although I had a Deluxe Reverb re-issue, I could use the "crunch" tone on the Johnson and get pretty close, and play it at low volumes. Or...I could choose the "black face" model for cleans, or to run pedals into, and it had a bit more bass. In fairness, turned all the way up, the Deluxe was definitely better, but if anyone was over to listen or join in, it just wasn't practical. So, I've been really intrigued by the new Fender modeling amps, and how closely they reproduce the sound of their tube counterparts.
What I'm finding is....most of the comparisons online are negligible by the time it's recorded, uploaded, and played through my speakers. What differences there are aren't unpleasant...just "different." But anything that was more of a "room mic" recording, and it becomes almost indistinguishable, which would lead me to believe that played live, having the adjustable volume, would be very beneficial, and especially with the attenuator, which he didn't illustrate here. Even if it meant experimenting with stacking boost and overdrive pedals to help achieve a certain sound, it would still seem to have some very obvious benefits vs. dealing with the weight of tube amps, volume considerations, and the constant concern over..."Is this the time my amp blows up and I have to plug straight into the PA?"
Clean is sweet. No fatigue. Could hear all day. Can't say the same for sawtooth. The lower the distortion the better. I'll sacrifice a fraction of the tone for less sawtooth. As to features, how much more would that raise the price?
Man you had me at the opening riff I loved it I know it's a kick-ass sounding app does it sound as good as the original probably not but is it easier to keep in shape than the original hell yeah
It certainly sounds like this does not deliver the same delicious sonic interplay you expect from a tube amp at hi volume, but I think the clean sounds, whilst being a bit short on sustain, are cool enough. Lovely playing Matthew, thanks for posting this! 🎶⭐👍
Personally I would just look at it more like a stunt double for my vintage tube amps on stage, plus the XLR is just so helpful, solves so many problems instead of micing the amp,,, tube amps are great but under risky circumstances for tubes this would be perfect
Record with vintage tube amps use this for gigs , I'm pretty sure you could tweak out the "harshness" I personally would just say it's probably more Hi-Fi clarity without the "sag" of vintage response. I think this would be perfect for myself playing bar gigs and keeping my 67 bandmaster and 59 tremolux at home safe and snuggly
weber wrote a monthly column in Vintage Guitar magazine 1990's -had a circuit schematic to 'convert' a fender 135w silver-face twin to a 85w blackface twin (channel 2) and a Fender Pro (channel1). if you used an a/b/ab box, you could have the sparkle of the twin, or grit of the pro, or AB and have both. if this amp doesn't have channel switching, use an a/b box -different effects chain going into the front end of channel 1 & 2
I have a tonemaster deluxe. Its not bad but then I got my hands on a JTM head when I plug that into the bypass I added on the tonemaster ....then it sound alive and exiting. Theres just no substitute for tubes.
Sounds pretty close to me. The Super Reverb was always a gorgeous sounding amp that could cut any gig. It was super heavy, though, which would be my main reason for going with the TM. The reliability factor is big as well.
Don’t delete that normal channel! I put a 120pf bright cap on mine, like the Twin, and it is an amazingly useful channel!!
On a digital or tube version?
I now gig exclusively with a Deluxe Reverb Tone Master. Fender nailed it. 24 lbs. XLR out. Attenuator. The audience cannot tell the difference between it and the tube version.
No but can you thats that question …
@@whynottalklikeapirat Not really. My "sound" is coming mainly from my fingers, pickups, and pedalboard. Any clean amp will suffice, but especially one with these features.
@@TheSpydersBand Well - if you are compensating for the difference between amps, it’s not so strange the audience can’t tell the difference 😏
@@whynottalklikeapirat I'm not compensating for anything. My tone comes largely from my guitar pickups and my pedalboard. I can get that tone with that guitar and pedalboard on virtually any clean amp. I leave my Hot Rod Deluxe at home and use my Deluxe Reverb Tone Master which is half the weight, has an attenuator that is awesome for adjusting to venue layouts, and an XLR out for convenience, plus the greater reliability of solid state vs. tubes which can also be tempermental.
The audience might not be able to tell (I say might, because you never know if there are people out there like us), but I sure can. And if I'm not happy, I will not play as well. So to me, using tubes is vital.
It’s tough when the comparison is between an amp and . . . A sound in your head. The sound in your mind generally wins. Blind AB or it’s not really a comparison.
These are great if you’re a bar band guy and just need something that looks the part and gets you 90% of the way there. If I’m playing the elks lodge or the local outdoor arts festival I’m not risking damage to the amp or someone stealing it and will bring a budget amp anyways. That being said, no they don’t nail it 100% of the way and it is lacking. My problem is the price because they’re ALOT of products out there that are convenient and will get you 90% of the way there for a lot cheaper.
Love your channel, I’ve learned a lot and I’m totally blown away by your growing collection. Much love and luck your way my friend1
thanks very much for that.
Showed up to a gig and backline was a tone master deluxe and a tone master super and I tried both and was disappointed
It’s close, but still a significant distinction between both. Tubes ring, not to mention it picks up the dynamics between soft and aggressive much better.
It's all about the feel and interaction with the amp, more than the sounds. Because it sounds pretty good.
But the playing experience is not at all the same. That's what kept me from keeping the TM Princeton.
I would have loved it to replace a tube amp, but it just doesn't 😢
I swear by my twin tonemaster. Such a good live 'workmans' amp.
Fyi, more 'amp like ' feel only comes when vol is north of 4.5 - 5. Then put attenuation where needed. And get that mid controll up to 8+. Love it.
I think they've overcooked the so called Black panel scoop with these, it doesn't soften into that sweet spot, it just gets louder. You could compensate with a good compressor maybe
How many of you have done a full blind test of this amp vs the tube super reverb ? Anybody ?
I don't know if they will ever be able to reproduce in digital or even solid state that special something tube amps do.
Thanks for the honest review, IMO if these were 25% less they would make more sense. Also when this breaks, youre pretty much out of luck
I said it when they came out.
The amps should cost $500-600, and I can’t believe anyone is paying that for used ones.
Perhaps as the technology gets better. Also, a 4x10 is probably not necessary for a digital amp..
@@MatthewScottmusic Neither is a Princeton version imo, I totally agree they could have made it so much more, especially at the price point. I just bought my second PR '76 for $1100 which is a bargain imo. My other is a real 68 drip edge
@@shckltnebay
My issue is Febder should be putting a Cab Sim output on every new amp.
Or make a tube pre-amp, with a solid state power amp, and cab sim DI, or have a DI that is voiced to sound like the amp it’s named for. The best guitar tone using a cab sim, was one on a Egnater Rebel 30, because it used the pre and power amp into the cab sim, and with the amp able to be silent or full volume, the FOH was the closest to my actual tone as I’ve experienced. The full amp into a good cab sim, gets the best tones. It can handle my Fuzzes and other drive stacking, that sounds like either mush or the same higher gain, overly compressed tone, so hear nearly every modeler use for leads.
When the guy is working a board, it makes it easy for them.
Id take that 76 pr over a tm any day
Agree. Harsh and grainy when driven. Cleans are ok. Weight probably great but quite a compromise tone.
Matt you are an influence on me as a guitarist and my favourite TH-camr
The concept is appealing and I watched a lot of videos demoeing the Tonemasters - not a single one convinced me tonewise.
I laughed hard about the vintage guy calling the channel layout and missing features outdated. But you are 100% on point, an FX loop is absolutely mandatory on an up to date amp, and i desparately miss it on my old Bassman 10.
Your suggestions are good but then it wouldn't be a Super Reverb anymore👍Thanks for the video🌹
“ Not going to get into the attenuator”. What? That’s probably it the biggest advantage of this amp vs tube version.
Definitely not. Sounds like playing through a transistor radio.
Try a tube pre amp pedal in front on it. It helps digital amp sonics quite a bit.
A Weber lube pedal ?
Kool post
I played the tone master Deluxe Reverb in the store recently and I have to say it did surprise me. I did have fun playing it.
Somewhat ice picky if you know what I mean but I mean I could easily play my songs Through It and enjoy myself. But I do know the difference in feel and expression when I play an old hand-wired amp.
I think I play better when I'm excited obviously I feel like I connect more
I think when simulation starts getting better than the real thing someday, then we're probably not going to know at that point what the real thing is like.
I owned a TMSR for about a year and felt like I never quite bonded with it until the P10r speakers broke in, and it took months. I ended up selling it to finance a car repair, and now I have a Blonde TMTR, and it’s significantly better imo
My dad built me a 5E3 and a 6A20 tube amps, he is 85 and an ex military electronics engineer! When I asked him to build them, he told me to buy a tonemaster !
Finally someone who says how it is . I see a lot of Fender amps standing behind you so I assume you know something about it and I think that is the case because I totally agree with you !!
They must ad some extra possibilities for tone management and it takes overdrive pedals not well.
We are talking here about sound , not about weight , XLR output , attunator etc : no it is sound.
They are amps for beginning guitar players .........
Great and honest review ; here is somebody who isn't influenced by the Fender Company .
The TM super reverb is my main gigging amp curious what you have to say before watching the video!
I think a switch for the bass man /super reverb is a great idea hope fender sees this. . Iknow you love vintage gear I think it would be cool though to demo some current gear like the American pro 2 strat. Matthew have you ever tried a super sonic or a prosonic amp ??.viscious blues machine. I have a reissuesuper reverb and a supersonic . Love fender tube amps . I think it's a feel thing .the tone mastersounded good in your demo but I think it's more of a feel response thing that's lacking with digital
I do not know if in first part video. You talked about the actuator on back that you would not touch that as it changes the sound. The actuator does that by limiting total volume of amp from .5 watt to 45 watt, to get distortion full put at 45 setting. Have owned one for over 2 years played on the originals 60's Super Reverb in early 70's. They did a good job on Tonemaster, tube amps are great but noisey and expensive to keep running, as I have several tube amps . Maybe try the distortion pedal and try actuator knob on back at the different settings and see if one distorts better than other. If looking for a modeling amp, try the Mustang series it has many of the effects you wanted on the Tone Master.
A side-by-side comparison with a tube super would be really great!
Might have to go that route!
I've Done that ALREADY, putting them, side by side. Myself,,,I've noticed the difference between the two immediately. Tone Masters are thinner sounding amp than Tube.( To me), not as creamy & the only other thing is the light weight & they're built a tad cheaper, also less expensive,$$. Cheaper as in the chassis are not built as well, as the old school tube Fender amplifiers. Some people will disagree, to some degree, I'm only going by my experience with playing Fender amps since the '60s. But whatever makes you happy,, I think that's what's important.
@@MatthewScottmusic I’ve actually watched a couple blind side by side comparison videos and both I ended up liking the tone master version better before the reveal to my surprise.
They are fender that's how they make em I like it that they have stayed true
Built in attenuators often add a bit of compression. It might even sound a bit more tubey with it turned down a notch or two.
I'll never give up my tubes amps, but I do own one of the TMSR purchased right after release on sale. I use the attenuator all the time for home practice. The cleans are good and the volume is manageable. I'd never get a tube super in its sweet spot in my home. I can play this one at edge of breakup while my kids sleep. It serves it's purpose and I got in for under 700 dollars. At that price it was a no brainer. It's the only digital amp I own but it's not bad at all.
Built my own JTM45 clone kit it sounds amazing a very sweet sounding amp I can here more harmonics coming through playing cords using clean sound and compared to my Blackstar 40w combo the JTM45 is in a class of its own.
Dear Matthew, the cab is Meranti plywood not pine. That’s also a big bummer. The Princeton and deluxe are with pine cabs. Thanks for being on the tube. your channel is refreshing!
Wow you are right! I swear they said pine in Fenders video on it. Another bummer.
Oh no, Meranti plywood.. i could hear it straight away..what a bummer..we're doomed.
Wonder if would sound better with the worn in speakers of your super. The weight of these makes them tempting, but it sounded pretty flat in the demo.
I gotta say "Pushed" by your pedalboard I thought it sounded awesome! Not sure in a mix anyone would know that wasn't your vintage one. I notice the only thing on mine is the sustain/ feel is different then my '67 when pushed- but the big difference is I can push the TM at gigs at a volume I could never get to with my vintage amp with the "attenuator" in back. I'm still wondering if the "digital harshness" will go away over time with the speakers broken in.
“No one could tell it was digital.”
No one but the player. The only person who really matters.
And if the player isn’t completely immersed in glorious tone they won’t give their best performance or enjoy playing as much.
I thought it sounded like trash when he plugged his board in.
Looking at amps right now, and I will have to play one in person to make a decision. It doesn't help that all of the videos I am seeing so far only have atmospheric music or clean low volume blues. Can it jam??