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BF/SF Deluxe Reverb

Production years:

1964 -1967 blackface circuits AA763, AB763, AB868 (CBS)

1967 -1977 silverface circuits AB763, A1172 and A1270

1977-1979 silverface circuit with Push-pull volume boost.

Tube layout
AA763/AB763 Tube layout (Seen from behind, V1 is to the right side)

V1 12ax7 = Preamp normal channel

V2 12ax7 = Preamp vibrato channel

V3 12at7 = Reverb send

V4 12ax7 = 1/2 Reverb recovery and 1/2 gain stage for vibrato channel

V5 12ax7 = Vibrato

V6 12at7 = Phase inverter

V7 6V6 = Power tube #1

V8 6V6 = Power tube #2

V9 GZ34 = Rectifier tube

Summary
The Deluxe Reverb 112 has for decades been one of the most popular amps among all Fender amps, and its popularity
is still growing as the demand for low wattage tube amps increases. The combination of size, weight and performance
makes the Deluxe Reverb a true road warrior on gigs and practise. Since the year 2002 we have observed, by monitoring
the amp market on US ebay, that low wattage amps have increased dramatically in popularity. Nowadays (2012) you can
score a big 6L6 vintage Fender amp for the same price as a Deluxe Reverb or Princeton Reverb. We find it irrational. The
PA was invented long time before that and guitar tones containing fuzz and distortion have been around since the sixtiesseventies. Why has the desire for low wattage amps with 20-25 watts of tube power come up so late?
Both the Deluxe Reverb (DR) and Princeton Reverb (PR) survived the CBS silverface periods with minor changes.
Many people consider the silverface amps just as sonically good as the blackface models. Being almost a blackface amp
with a new faceplate (wrong for collectors), the silverface models became popular value-for-the-money amps. Collectors
hunt the blackface models and players hunt the silverface for its quality and price. The push/pull volume boost was
installed in 1977 by CBS. The circuit was then significantly different from the blackface circuit. Hence, the price for this
amp is lower than its predecessors.

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The DR is a small/medium-sized amp with an ability to deliver both sparkling clean tones and low wattage breakup at
22W with 6V6 tubes and relatively small transformers (power and output). It has found its way in to more recording
studios, clubs and bars than any other Fender amp. It has met many players expectations. It is just powerful enough to
cut through in practise in a band with a drummer and, unlike some bigger amps, it will reach its sweet spot at a
reasonable volume. It has the typical blackface 60s sparkle with a scooped clean sound just like the bigger Fender
brothers, just with more smooth breakup, sag and compression. The smaller brother Princeton Reverb is rolling off more
top frequencies and breaks up earlier with more warmth producing a brownface type of tone. It will not cut through the
mix as easily as the stingin tone of the Deluxe Reverb.
In general we dont recommend the mods on this page that increase the power and clean headroom unless you are playing
your amp at gigs on medium/large stages and you need more sparkling clean notes or funky rythm chords to cut through.
If you are using your amp at home or in recording situations we think youll be very hapy with a stock DR, and maybe
you even want your Deluxe Reverb to break up earlier sometimes. You will be able to shape your tone significantly with
just the right speaker(s) and tubes.
Youll need schematics to implement some of these mods. http://www.ampwares.com/fender.asp. We usually start with
explaining a mod from a functional perspective where we relate to components in the logical schematics diagram. Finally
we point out location of components in the physical layout diagram.
The Linda Ronstadt amp, a mini-Vibroverb.
Let us talk about one of our own gig amps; the
Linda Ronstadt amp. It is a 71 silverface Deluxe
Reverb that we bought from the Linda Ronstadt
band. It came with a fantastic vintage flight case
that had travelled around the world, 6L6 tubes, a
GZ34 rectifier tube, a JBL D120F speaker and had
been totally AB763-blackfaced with new wiring, a
professional cap job and all. We were told it had
been played by a lot of famous guitar players
including the big texan Stevie himself.
The amp sounded big, hard and mean with tons of
punch and sparkle, a mini-Vibroverb.
Unfortunatley it was too shrill and needed to be
cranked really hard. Even then there was too much
of the ice picky attack in the treble notes. We spent
days playing it with different guitars and pedals,
not able to decide whether we liked it or not.
Maybe this was the reason the amp was sold? It sure sounded nice with a Tubescreamer which removes both the upper
treble and lower bass, and this is also how Stevie achieved his tone. But we wanted more. We wanted to play this amp
without a Tubescreamer and achieve a decent cranked tone. We finally decided to continue the path that team Linda
Ronstadt had started, enhancing this amp to our needs. First we implemented the bright cap mod due to the bright
speaker. This easily tamed the upper shrill notes allowing us to use the treble pot beyond 4 (all reissue amp owners with
new Jensen C12n, read and learn).
We also replaced the GZ34 recitifier tube with 5U4GB and re-adjusted the 6L6-bias to 33-35mA. The 5U4GB removes
the instant attack that we struggled with and introduces more sag and compression. Then we pulled the V1 preamp tube
and replaced the tremolo intensity pot with a new switchable one that can completly disconnect the tremolo circuit from
the signal path when turned to zero (see tremolo disconnect mode below), both to thicken the tone by increasing the
preamp gain in the amp. These mods took us 25 minutes including assembling the amp chassis and cabinet back together.
The results amazed us once again. The shrill upper harmonic notes were tamed. The pick attack was now acceptable and
the hard treble frequencies were compensated with punchy lower mids. It was now much easier to find a sweet spot and
good EQ settings and we enjoyed a lot playing the amp with no boost pedals. Even the in-between pickup positions on
strats came out quacky and cool without breaking our ears. The amp was now a true texas hot rod amp reaching an
approx. 30 watt sweet spot around 3 on the volume knob. The tone reminded us very much of the 64 Vibroverb diaz mod
from Fender custom shop, just a little sweeter with earlier breakup. This amp is now definitly a keeper. A few years later
we have several spakers in this amp next to the JBL D120F. The Eminence Maverick with an inbuilt 9dB attenuator can
turn down the volume to a Princeton Reverb still achieving full tube break up. We are also very happy with a EVM12L
speaker in this amp.

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What does the Deluxe Reverb sound like?


It sounds like most blackface/silverface amps, full American tone with sparkle and punch. Clean tones are great as on all
these Fenders. It has 22w clean headroom and breaks up at around 4 on the volume knob with a single coil guitar. The
112 speaker gives a decent spread on stage with rich lower mids and the speaker can alter the tone very much on its
own.
Five fundamental tricks to create the holy grail of Fender tone
Speakers
The easiest and most effective mod of them all. The speaker is the most important component in your amp which
physically produces the air waves that your ears detect as a tone. If you have an original Oxford speaker youll
experience a significant change (to the better, in manys opinion) by swapping to almost any other speaker. By most
guitarists the Oxfords are considered weak and they fart out in the lows when being pushed hard. Because of the low
efficiency youll have to turn up the amp and push the tubes harder to get any volume. The Oxfords have gotten a bad
rumor, not rightfully deserved in our opinion. Players who play clean will experience a well balanced and vintage fender
correct clean tone. Theyre not too loud and nor do they bother you with a shrill brightness. They do have some vintage
vibes and a nice musical voice. Inefficient speakers can be useful in multiple speaker applications 2-4 x10 where the
total areal of speakers will provide enough volume for you anyway. Lets see it from another perspective. Youre will not
experience any vintage vibe with a brand new Reissue Deluxe Reverb with new tubes and a super efficient Jensen C12n
or C12k rated at 50 or 100W; Everything is too efficient with loads of glassy sparkle and attack, some call it harsh and
icy. The Oxfords can actually offer the vintage vibe, like it or not.
An interesting fact is that the silverface Deluxe Reverbs had better speakers than the blackface amp. The blackface had
Oxford while the silverface could have either Oxford, CTS or Utah. Having experienced all these speakers in several
Fender amps, we consider the CTS and Utahs to be superior to Oxford, particurlarly in single 112 application requiring
high performing speakers that can deliver both punch and sparkle. The good news is that you may get reconed Oxford
speakers that sound awesome. There is your ultimate players and collectors amp.
Baffle and 210 speaker configuration
By replacing the original 112 baffle with a 210 baffle youll get a bigger sound and more flexible amp. A 12
speaker is slightly harder to drive than a 10 and if youre really into soft touches and finger tips youll probably
appreciate the dynamics of 210 more than with a 12. An interesting effect with 12 speakers is the wide 3D spread.
While 10 speakers are front directional a 12 have noticably more spread. It contributes to a better sound spread on stage
and your band mates will hear the amp better. A nice trick with multiple speaker configuration is to disable speakers in
case you need less volume. The output trafo in DR is designed for an 8 ohm load, yet it can be used for 4ohm without any
risk for damage. A practical tule of thumb is that all Fender OTs will handle a 100% mismatch in speaker impedance.
Example: An amp with a 4ohm OT (Twin, Pro Reverb, Vibrolux) will handle both 2ohm and 8ohm speaker loads, even
though its optimal performance is at 4ohm in terms of amp headroom, trafo distortion/sag and power tube wear. A
mismatch in impedance to a higher impedance will make the power tubes distort more. Tubes are also pushed harder and
will be weared out slightly faster.
For 10 recommendations, see the Princeton Reverb, Vibrolux Super Reverb pages. Perhaps you want to mix speakers,
having Alnico + Ceramic or dark + bright speaker. Be careful not to pair two very different speakers since the result will
be unbalanced, directional and youll get confused when youre micing the amp. The efficiency should be more or less
equal so that both speakers are coming through. If you have one super bright speaker (Jensen alnico) and one very dark
sounding, you wont be able to utilize the dark one since youll be setting the treble to match the bright speaker.
12AY7 or 12AT7 as preamp tube Less preamp gain.
If you want a cleaner and spankier tone you can replace the V1/V2 12AX7 preamp tube with 12AT7 or 12AY7. These
tubes have lower voltage gain and different frequency responses, particurlarly when distorting. 12AX7 tube has a voltage
gain factor = 100, while 12AT7 = 60 and 12AY7 = 45. One could describe these tubes to have less harsh and buzzy
distortion. This mod does not alter the tone significantly when amp is played cleanish. Youll have to increase the
volume setting to achieve a similar volume as before. If you hit sweet spot at volume=4 with 12AX7 you may go as high
as 6-7 before reaching it with 12AT7 or 12AY7.
Pull out the V1 normal channel preamp tube for more preamp gain in vibrato channel
Well start with saying that this is a mod we personally do to all dual channel blackface, silverface and reissue amps. It is
so easy to enable and disable that it can hardly be called a mod. If you are like most players and only use the Vibrato
channel (reverb, tremolo, the bright cap and the extra gain stage), you should pull out the V1 tube. This is the preamp
tube for the normal channel which you are not using when playing the Vibrato channel. Vice versa; If youre using the
Normal channel, you can pull out the V2 tube. All AB763-similar circuits (Deluxe Reverb, Super Reverb, Pro Reverb,

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Twin Reverb, Vibroverb, Vibrolux) are designed so that they share the cathode cap and resistor (25 uF/1500 ohm) and
pulling one of the tubes will changes the effective value of the resistor they both share. If you pull one tube the other
channels tube will be hotter biased and offers more gain. The amp will play louder than before given the same volume
knob setting. The stronger signal will push the second gain stage (V4 tube) harder and give you increased sustain,
compression and harmomics. This mod does not change the amps clean headroom but increases the preamp gain and
preamp distortion.
This mod is one of Cesar Diaz tricks in the Fender Custom Shop Vibroverb 64 which he always did to Stevies amps.
This mod is safe. It has stood the test of time and been been done by players in 50 years in blackface Fender amps.
Replace the 12AT7 PI tube with a 12AX7 or 12AU7 Less clean headroom.
Very practical mod at practice and low volume environments. This mod reduces the amps clean headroom and youll
achieve sweet spot at a lower volume. Youll notice that the amp gets looser and with less attack. Tips: If you pulled the
V1 12AX7 tube you may use it as V6 phase inverter.
12AX7 as phase inverer tube will give the most effect out of this mod. 12AX7 will be in between 12AT7 and 12AU7.
Replace the 12AT7 reverb driver with 12AU7 Better reverb control.
Reverb is an important character with vintage amps, yet so individual and mysterious. We all know that speakers change
their tonal character during age. So does the reverb. The reverb function sounds and behaves differently between
identical vintage amps. Some amps have long, lush and soft reverb while others are mushy and overwhelming. We
often find the reverb sweet spot around 2.5 on the reverb pot, varying from 2 to 4. Some amps are sensitive and difficult
to control the reverb on. The whole dynamic area can be within a narrow interval, i.e. 2 and 2.5. These amps require a
careful touch when dialling in the reverb, which irritates us.
The reverb circuitry consists of two tube sections (reverb driver V3 and reverb recovery V4) and the physical reverb tank.
All these components will drift during age and minor differences in component values are noticeable to mans ear.
If you replace the V3 12AT7 reverb driver with a 12AU7, you will reduce the effect of the reverb and it will be much
easier to control with the reverb knob. So simple as that.
Use normal channel for reverb control Adjust EQ and depth of reverb.
This mod is relevant only for two-channel amps with normal and vibrato channel. This trick is great for the reverb
enthusiasts among us, and who is not? Plug your guitar into the vibrato channel, then unplug the reverb return cable on
the back of the amp (the one that comes from the reverb tank output) and plug it into the normal channel input. You will
need a converter to go from male phono/RCA jack to a 1/4 male jack. You may now use the normal channel as a reverb
control where you can adjust the depth and tone using the volume, bright switch, treble and bass knobs (and mid if you
have a Twin Reverb). The reverb knob on the vibrato channel will have no effect any longer.
This mod is not applicable together with the Pull V1 mod, as you need the normal channel preamp tube.
Diode rectifier More clean headroom.
This mod is for those who wants more power, clean headroom and attack. It is very practical to bring with you those
small Sovtek plastic adapters that easily can replace the rectifier tube. Youll increase the power of the amp with a few
watts. The diode rectifier will feed your amps filter caps with a higher and faster DC voltage compared to a tube
rectifier. The fact that it delivers a slightly higher DC voltage to your power tubes (via the filter caps) means an increase
of the tube voltage gain factor. When you hit a hard chord the preamp and power tubes will require energy and current is
flowing from the DC filter caps which are charged up by the rectifier. If the recitifer can deliver more energy more
quickly, youll have more power and attack.
Please be aware of that using GZ34 or diode rectifier will wear you 6v6 power tubes faster than with a 5U4G due to the
higher plate voltage. Some 6V6 tubes are better than others in handling higher voltages. The TAD and JJs are rough and
can take a lot of beating.
Check also out Ted Webers Copper Cap Rectifiers that emulates the sag of a tube rectifier.
6L6 power tubes More power and clean headroom.
If you want more power you can easily replace the 6V6s with 6L6GC. You need to rebias the amp to prevent wearing
out the tubes and/or to get a cold and harsh tone. We prefer bias at 32-35mA, perhaps hotter if you like more gain. The
power circuitry (power trafo, filter caps, voltage divider caps) in Deluxe Reverb are capable of handling the extra current
that 6L6 tubes will pull from it. Ths Deluxe AB763 has a plate voltage of 410V and if you insert 6L6GC you still wont
be so loud as Vibrolux or Super Reverb with 440V and 460V plate voltage. A Deluxe Reverb with a 6L6GC is very
smooth and forgiving with lots of sag in transformers, filter caps and rectifier.
This mod will raise the effect in the power amp section. Hence, the clean headroom is significantly increased and youll
also have the distortion chacteristics of 6L6 instead of 6V6. Please be careful that your speaker can handle the extra

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watts. Be careful with vintage speakers that easily blow when taking 35-40 watts in stead of 20. An original Oxford 12
will most likely blow if you, inspired by you-know-who-from-Texas, pluck the low E string hard at the end of songs.
Ideally you should halfen the speaker impedance when going from 6V6 to 6L6, but as mentioned elsewhere it is safe on
these amps to vary the speaker load from -50% to + 100%.
This 6L6 mod is very effective together with a 210 speaker baffle with 8 ohm speakers, which makes the Deluxe
Reverb more or less a Vibrolux Reverb. You will then have a better impedance match and more effect utilized from the
6L6s. For low wattage gigs you can use only one of the 10 @ 8ohm speakers. For gigs that require a big clean sound
you simply engage both speakers. You now have a 30-35W amp.
Tremolo disconnect mod More preamp gain in vibrato channel
The effect of this mod is similar to pulling the V1 normal channel preamp tube when playing the vibrato channel. This is
also a very popular mod in AB763-similar circuits (Super, Twin, Virboverb, Pro Reverb, Deluxe, Vibrolux).
By original design the tremolo circuit will absorbe current/signal even when one turns the tremolo off with the
footswitch. This mod suggests to entirly disconnect the tremolo circuit from the signal path by replacing the tremolo
intensity pot with a switchabe pot (spst). One side effect with this mod is a noticable click and a volume difference
between tremolo on and off using the new spst pot. If one uses the tremolo regularly one should still use the tremolo
pedal to enable/disable the tremolo and leave the intensity spst pot at your desired level. The spst pot is not good for
enabling and disabling the tremolo very often (because of the click and the volume difference) but is a nice when you
play without tremolo. A good thing with this mod is that you have both the tremolo pedal and spst pot to use.
With a new switchable/spst pot set at intensity=0 the mod will kick in and raise the signal level in the preamp section,
right before the phase inverter. Once youre turning up the tremolo the circuit is connected again and the tone will remain
original. This mod does not increase the amps clean headroom. We would describe the effect as making the tone richer,
fuller and more powerful with stronger mids that pushes the power amp section harder (phase inverter + power tubes).
We like this mod a lot for stratocasters wi the Fender AB763-similar circuits since they boost a relatively scooped and
thin sounding guitar and amp. In addition to pulling the V1 tube, this mod is one of those must have mods which we
never undo once having implemented it.
This mod is one of Cesar Diaz tricks in the Fender Custom Shop Vibroverb 64 which he always did to Stevies amps.
This mod can be implemented in two ways, either by unsoldering the tremolo circuit or replacing the tremolo intensity
pot with a swicthable pot, so-called SPST pot. The switch is enabled when you turn down intensity to zero. There are also
switchable push/pull pots where you pull the knob to enable the switch.

Order a 50k SPST from one of our recommended amp part dealers.

Remove the original 50k trem intensity potmeter by unsoldering the wires to the potmeter lugs and unount the
pot from the chassis. The black plastic wheel is to be used for the new pot.

Install the new 50k SPST pot to the chassis. This is a switchable pot offering a mid positioned switch in addition
to the variable resistanse 0-50KOhm between the lugs. At level=0 youll completly disconnect the tremolo
circuit.

See the wiring diagram below.

Youll have to solder the yellow wire to one side of the mid positioned switch in stead of to the right pot lug as
before.

Then solder a new (red) wire between the other side of switch to the right lug.

If youre permanemtly disconnecting the tremolo circuit you can just clip of the brown and yellow wires and insulate the
ends with tape. Note that the figure below shows the Super Reverb. The Deluxe Reverb would be the same.
(One may also use the tremolo pedal, in stead of the spst switch/pot, to entirly disconnect the tremolo. You will not need
to replace the intensity pot with a spst, but let the yellow wire to the tremolo pot go through the tremolo pedal. In our
opinion this is not a good idea since one loses the possibility to use both the spst switch and tremolo pedal. Using the
pedal will now involve a significant click sound and volume increase.)

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Bright cap
Unlike its bigger brothers, the Deluxe Reverb came with no bright switch. Instead there is a hard wired bright cap 47pF in the Vibrato channel enhancing the upper treble
notes. The Normal channel did not get this bright cap. You may choose to clip one of the legs on this 47pF cap to turn the bright switch off, or you may want to install a
identical bright cap to the normal channel. See red circles in figures below for this cap. The cap is installed directly between the volume pot lugs.

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Blackfacing
If you are like us and cant sleep without knowing you have the blackface specs you should read this chapter. It takes
little effort to blackface the silverface DR models without the push-pull volume boost. The questions is which blackface
circuit do you target for? We recommend the AB763 due to its robustness. If you have a blackface DR you should inspect
both the circuit and tube chart to verify which model you have, either AA763, AB763 or AB868. Some amps have a
different circuit than what the tube chart indicates.
The differences between AA763 and AB763 are listed below and marked with red colored circles in the figure. They do
not affect the tone very much and we doubt anycone can tell the difference in an A/B test with a 30 minute soldering job
in between. The first mid tone cap is perhaps something you want to investigate further.
AB763 vs AA763
1.

2.

3.
4.
5.

Mid cap in EQ circuit for both normal and vibrato channel was changed from 0.033uF to 0.047uF in AB763.
This means less mids in the AB763 since more of the mid frequency signal leaks to ground through the
6,8KOhm resistor. There is no mid pot in DR and if you want to a scooped tone, go with the higher cap value to
minimize the mids. This cap is marked with a red circle at the left most side in the figure below.
Just where the dry signal is mixed with the reverb signal (in vibrato hannel) the 4,7KOhm resistor was changed
to 3,3KOhm in AB763. This means that the mixed signal contains less reverb in AB763 since more current is
passing through the dry path.
The tremolo tube circuit had changes in capacitor wiring and one of the cathode resistor (from 56 to 100kOhm).
We havent experienced any significant tone differences between the two. Tone is not affected.
The phase inverter circuit had two resistors changed. One of the 100KOhm plate resistors was reduced to
82KOhm. The 27KOhm resistor was reduced to 22KOhm. None will make an impact in tone.
The 6V6 power tubes had 1.5KOhm grid resitors installed for safety reasons in AB763.

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AB868 got just a few changes (one important though) compared to AB763.
AB868 vs AB763
1.
2.
3.

The GZ34 rectifier tube was replaced with 5U4GB meaning more sag and less attack. You can select which one
that matches your tone and style.
Bias electrolytic cap was changed from 25uF/50V to 50uF/70V in AB868. Tone not affected.
1200pF caps on the 6V6 grids to filter out ultra high frequencies making the power amp section cleaner. These
caps are mounted between ground and pin 5.

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The A1172 was based on AB868 but was changed further changes, some relevant to tone. An original A1172 will sound
cleaner and thinner than AB763. Since we want to the DR to break up nicely and sometimes scream, we recommend
modifying back to AB763.
A1172/A1270 vs AB763
According to schematics A1172 and A1270 are identical circuits.

The GZ34 rectifier tube was replaced with 5U4GB meaning more sag and less attack. You can select which one
that matches your tone and style.

Bias electrolytic cap was changed from 25uF/50V to 50uF/70V in AB868. Tone not affected.

2.2 Kohm voltage divider resistor in stead of 10 Kohm. Leads to a higher plate voltage on phase inverter 12AT7
tube. Increases the headroom in that tube. Layot diagram does not show this resistor. It is located in the filter
caps box.

330Kohm PI grid resistors in stead of 1MOhm. Also a 0.001uF coupling cap to the PI instead of 0.01uF.

The reverb recovery circuit had a highpass cap 2000pF installed in parallell with the 220Kohm resistor. It will
remove the upper high frequencies in reverb signal. Not a significant change, but easy to roll back to AB763
specs by just removing it.

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Negative feedback loop


The negative feedback loop can easily be tweaked to alter the treble cut and distortion in your amp. The purpose of the
NBF loop is to clean up the tone and cancel out the mid/higher frequencies and upper harmonics (distortion) at the entry
point of the phase inverter which is placed in front of the power tubes. The NBF theory is that you take the signal from
the speaker output, let it go through a resistor and mix it in at the entry point of the phase inverter. The speaker signal is
out of phase (180 degrees) with the signal at the entry point of the phase inverter and will cancel out equal frequencies. If
you disconnect the NBF loop youll notice that the volume increases and tone gets much more aggressive. More white
noise too. unfortunately, which is why there is a NFB loop. You will fin the amps sweet spot at a lower volume knob
setting without the NFB loop. Not only is there a volume shift, the amps clean headroom is reduced slightly. Most
importantly the tone gets rougher and rawer with more mids and higher frequencies, aka presence. If you think your tone
is too bright or harsh or youre seeking a mellow and nice clean tone, you probably want to keep the NBF loop. This mod
is for those who want more bite and a tone that really cuts through in the mix.
You may choose to implement the mod in several ways and in various combinations with the ground switch or a foot
pedal. A foot pedal works like a boost/FAT pedal. If yore struggling to find a transparent boost pedal that keeps the
natural Fender tone you should try this out. You will still have that beautiful Fender tone, just more and wilder.
1. No negative feedback at all. Simply disconnect the feedback loop (a wire) and tape insulate it. You get the most
effect of this mod by disconnecting the NFB loop entirely. You may experience that the tone gets harsh,
depending on guitar, speakers and EQ settings of course. If so, read more about the cap in the next bullet point.
2. Keep the feedback loop and install a .01 F in series with the NBF resistor. This cap will prevent the lower and
mid frequencies to go through the NFB loop. Depending on the cap value treble frequencies will be fed back to
the phase inverter which cancels out the treble in the main path. The tone gets less harsh and you still have a
noticeable effect. You should experiment with different cap values. Start with 0.01F.
3. Increase the feedback loop resistance value. A good starting point is around 1.5 and 3 KOhm. This reduces the
effect of the feedback loop, making the amp break up more when the NFB is engaged. If you make the NBF
switchable there will be less volume difference if you use a high resistor value. (Using a .01 F cap is also
recommended to minimize the difference a little bit between NBF on and off).
4. Use the ground switch or foot pedal to make the NBF switchable. If you remove the death cap and free up the
ground switch by removing existing wires to it (if youre wondering what the ground switch does, you dont
need it). Then wire the ground switch in series with the NBF resistor. If youre using a cap in the NBF loop this
goes across the switch allowing treble to bypass independent of the switch. When the ground switch has
disconnected the NBF loop the higher frequencies are still fed back through the cap. In practice you solder each
the two cap legs to at each side of the switch between speaker terminal and NFB resistor.
Where to install footpedal or switch? The ground switch is easy available if you disable the power supply wires and death
cap. For amps with reverb you could use the reverb footswitch phono plug if you are not using it.

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Mulitiple and flexible speaker output impedances (built-in attenuator)


This mod requires the knowledge of how to replace a transformer in your amp. The mod will give you mulitiple and
flexible speaker output impedances where the external speaker output jack serves as a secondary independently speaker
output. This flexibility is desirable for both 112 or 210 speaker configurations together with extension cabinets.
The original OT in a DL is sized for 8 Ohm speaker impedance (112 @ 8 ohm). It will make sure the power tubes
see the correct impedance and can operate at optimal conditions in terms of clean headroom potential and frequency
response. If you were to replace the original OT with a 2 ohm or 4 ohm OT, the tubes will be pushed harder since they
see a bigger load than expected (the tubes see the speakers through the OT). Both the volume and clean headroom will be
reduced, yet the tone stays fairly the same (some clarity may be lost). This effect is similar to an attenuator, which is very
nice when you want to achieve the amps sweet spot at a lower volume.

In a 210 @ 8 ohm speaker configuration, we recommend 4 ohm + 2 ohm output impedances.

In a 112 2 8 ohm speaker configuration, we recommend 8 ohm + 2 ohm output impedances.

Go to Mercury Magnetics web site. Order the Deluxe Reverb multi-tap OT with 2, 4 and 8 ohm taps.

Remove the original OT carefully in your Deluxe Reverb and store it away. Install the Mercury Magnetics OT.

Wire the OTs primary circuit just as before. Clip the cables nicely and twist them as Leo Fenders gently old
ladies did. Insulate the unused ones with tape.

The OTs secondary circuit will be wired differently. Wire the 8 or 4 ohm tap to the main speaker jack. Then
wire the 2 tap to the ext speaker jack. You must first remove all existing wiring on the external speaker jack so
that it is totally separated from the main speaker jack.

Now you have two speaker outputs; 8/4 ohm + 2 ohm. You may use them independently and the ext speaker
jack does not require the main speaker jack to be plugged.
We like this mod a lot. Especially since were using the original jack outputs. Choosing the 2 ohm output with a 8 ohm
speaker will attenuate the volume a lot at practise and gigs.
Middle pot
The Deluxe Reverb did unfortunatley come without a mid pot. Many players are happy with the default 6.8K mid resistor
in the EQ circuitry, but some want what the others have; a 10K potmeter mounted in series with the 6.8 Kohm resistor.
When the potmeter is set at 0 youll have an original tone, and when turned up the mids increases and your amp growls
with a British Voxish tone (especially together with a Celestion speaker). For a wider tone range you can replace the 6.8
KOhm resistor with a 4 KOhm, and use the 10 K pot to go beyond the original 6.8 KOhm and up to 14 KOhm. If you do
not use the reverb or tremolo pedal it is very practical to install the middle pot here. It requires a simple solder and
removal job to replace the phono plugs with a mid pot. Or you could install the mid pot at the left most side of back of
the amp where the additional power supply is located.

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