Fender '57 Deluxe Reissue

No loop, no master volume, no mid,treble,bass, no reverb, no channels ...

only a very sweet sound - all I need !

And hey, this one is only 11.5 Kg - very nice to carry.

This one sounds killer for all kind of blues and rock stuff - not for metal.
Sound is the reason why I bought this amp.

I love this amp !
Beside this one do I currently own this tube amps:
-Fender Blues Junior Limited
-Mesa Boogie Lonestar Special
-Mesa Boogie MK V
-Koch Studiotone
-Marshall JVM410
-Elmwood Moderna

And this modeling stuff:
-H&K Zentera
-Fractal Audio AxeFx

While I love my other stuff for different use cases - the 57 Deluxe is SO SWEET for all my blues stuff - can't be replaced by all my other gear.

The new reissue Deluxe has a very limited feature set but that was the norm back when this was made originally so if measured by the standards of its day it has a good feature set by comparison to other amps in its class from its time. Four inputs, a tough box, easy to service, good overall sound and dynamics and loud enough for gigs-back then. Tweed Deluxes are quite versatile especially if you have the whizzer like Neil if live and mike it; but recording too it has range, from clean to thick distortion depending on settings and the pickup and guitar combination used, pedals work also with this classic design. It has the well known four input tweed volume knob interaction which is actually kind of subtle but effective if you have good gear and ears. The reissue functions like the originals in range of tone and volume knob settings and the above mentioned interaction. The new reissue is identical in features to the old one and it's good to see Fender trying to get back to what made the legend with reissues.

Fender's mark in sound quality here as with all the reissues is the original version that made the model famous. I currently own three orignal tweed Deluxes (1956, 1957 and 1960). Two of the three are all original while one has had electrolytic caps replaced. They have the original Jensen P12R, original cones, and mostly NOS tubes. I also have a reissue Jensen P12R that I substitute for the old original Jensen in the one I play out. All three originals sound similar with sparkle and clarity at low volumes that thickens and gets richer with volume that can be either reedy 1950's blues overdrive tone, think Chess records, or biting ripping rock tone, think Neil Young, all with the rotation of the tone knob. The two volumes are interactive and you hear a noticeable dip in volume around 9-11 when you move the volume control in the channel you're not using. And, all settings sound musical and usable with sweetness. It doesn't matter what guitar as long as it's good sounding. I was excited by Fender's efforts to reissue this classic and I would say that they got part the way there. It has the range of tones and is Deluxe sounding for the most part but where it lacks that is immediately obvious to anyone that owns an original is just so annoying that it doesn't hold a candle to an original. The reissue sounds harsh and unmusical. Using an original Jensen helped a little but it still has that annoying sound. Where the originals exude rich buttery or razory but musical tone the reissue gives piercing harsh metallic hard tones that has to be softened by excessive dialing in of the settings and careful selection of guitars and then rolling off highs to the point where it gets dull sounding and loses dimension and dynamics. I play more vintage oriented gear, '67 Tele, '71 Strat, '58 Reissue Les Paul, and I can achieve a bright and musical tone with my original amps that I cannot get with the new one. The new P12R that I use in one of my originals sounds pretty close to the original P12R's and I thought the new P12Q was the problem, so I changed them and that wasn't the problem. I changed tubes and that wasn't the magic part either.

Should be great, 5 year warranty and it's simple and fibre board hand wired. I expect this will hold up just as well or better than my 50 year old ones. But only time will tell. I've had it for a year and loaned it to a friend's son who puts an hour on it everyday. So far no trouble.

Fender was helpful and friendly in past dealings and has good customer support but I haven't needed any related to this amp.

I've been playing for almost 30 years now, gigging locally and doing a wide variety of musical styles. I was looking for a replaceable small gigging tweed amp so I wouldn't trash my originals. I own quite a few other amps besides the three old Deluxes, mostly old ones including: '55 Bassman, '55 Gibson GA-20(very similar to Deluxe), '62 Champ, '67 Deluxe Reverb, '68 Super Reverb, '71 Twin Reverb, '75 Marshall 50 watt, Marshall Vintage Modern 50 watt. The late fifties tweed Deluxe is one of the best amps ever made and a personal favorite although I don't believe Fender cloned an original tone wise, far from it, the beauty that separates great from mediocre it seems cannot be recreated in this day and age. And talk about it aging and sounding like an old one is hooey. I have played museum quality, like new, old original Fender amps that sounded amazing right from the start. I guess they don't use the same materials for components that they did years ago and that might be the difference. If Leo or Bill Carson played these amps in comparison to the stuff they originally put out I don't think they would let it out of the factory. If it meant changing the design to get the right sound Leo would have taken that route instead of putting out a circuit copy and close as can get parts. Given the price I don't think this is a great value. I would opt for saving more money and getting an old one.

Purchased brand new in May 2009. Features as per previous submissions. Simple yet rich, 12 Watt venerable and legendary 5E3 ciruit: Interactive channels, volume and tone. Words like touch sensitive, dynamic and interactive are all gross understatements. You will never have more versatility with less knobs with any other amp.

I use this amp at home and can dime it (12) without causing too much of a stir but I live in a college town so neighbors are quite forgiving. It's a loud 12 watts. My Blues Junior NOS Tweed may have been a touch louder at 15 watts full out. Quiet amp period. Contrary to popular belief, this is not just a dirty little shtkicker. You can get cleans sounds all the way up to 12 on the dial with a light touch on the picking/strumming. And every tiny little nuance in between all the way down to sweating bull hog in heat. Just mic it for larger gigs.

It made sturdy with quality components but I wouldn't go swinging it by it's leather handle or throwing the thing around. But that's just me, I baby my gear. I never had a problem with it.

Take good care of your gear and have a good tech you trust for routine maintenance and you'll be glad you wont need to contact them.

Middle aged hobbiest fortunate to also own a 57 Twin Reissue. There is not one thing bad I can say about this amp. It's perfect in every way and it is all that and more. I would definitely get it replaced. The 5E3 is legendary for a reason, go give one a try.

The whole point of buying a '57 Deluxe is the simplicity of the design, therefore it's kind of hard to critise a lack of features. The control panel is very sensitive, with the two volume controls and tone offering numerous options, as they all interact.

Awesome tone, extreamly touch sensitive. I haven't changed the stock Jensen speaker for a blue alnico, I actually like the early break up. I can still play reasonably clean up to around 4/5 on the volume. This amp snarls above 6 on the volume. I bought it to get close to Neil Young's sound, which this delivers with my Les Paul.

No problems at all. Some early versions came without the 'rubber' strip between the back panel and the cabinet, which has given some users hassle with vibration. No problems with mine.

No idea. It came with a warranty which I'll hopefully never have to use.

It's a keeper. I've waited for a re-issue Deluxe for years, so as soon as I heard about this the order went in. Yes it is expensive, but it is a Fender Custom Shop amp after all.

I love it.

the numerical rating for features doesn't seem to apply to these '50s tweed reissues. they don't have a lot of features. that's sort of the point. unfettered tone is the main feature. i give it a nine as tone this good doesn't need a boatload of knobs. the interactivity of both volume knobs makes up for any swiss army knife amp's features. the tone knob is extremely sensitive (in a good way). you move it one notch and you hear the difference.

the reviewer who complained about the pots didn't realize all 5E3's and several other tweed circuits don't have sound at all until between 2 and 2 1/2 on the volume knob. it's inherent to the circuit. i have a clark which uses premium parts throughout and it does the same. with the stock jensen, this amp breaks up very early. a tad too early for my tastes, so i put a celestion blue in mine. now it has more clean headroom and more bottom. i use les pauls with mine, so i generally need to use input 2. i prefer the instrument channel. it's a fairly quiet amp noise-wise, the hum is not annoying or that noticeable. the overdrive is spoon-fed golden and amber waves of grain. it gets dirty around 5 or so, really angry around 6 and it only gets more smooth and compressed from there. i don't usually jumper the channels, though i have. i prefer instead to have the guitar cable in instrument input 2 and set it at about 6. i then turn the mic volume to 12. that's a fairly clean sound and living room volume. it gets progressively more complex tonally. when i reach 11 on the instrument channel, it get significantly more overdriven. it's fun to experiment with this type of setting.

no problem thus far. there's a good authorized tech just up the street. there are amps just like this still getting it done 50 years later. i was expecting a better lacquer job though. i've had the reissue tweed twin and bassman ltd. and their coats were top notch. this one only seemed as if a can of hairspray was used to coat it. disappointing (i remedied this however, see below).

no need to use them thus far. 5 year warranty is a plus.

at first i was disappointed in the lack of clean headroom. i knew i wouldn't have much, but it was practically zero clean when i got it. the jensen just didn't suit what i was looking for. even the volume on 3 was instant dirt. i like having some play in that range and some finger and attack responsiveness helping to achieve this. the 5E3's i'd heard prior to this had more efficient speakers (red fangs and celestions). i put a celestion i had in another amp in there and it made all the difference. the tweed was barely lacquered though. that was the main let down cosmetically. i put two more coats of minwax honey pine and it's truly lovely now. it's an amp i feel as if i have to play every day. it's that seductive in its simplicity, design and easily dialed in tone.

New reissue Fender 57 Deluxe Amp.

I have owned a few originals of this amp over the years. The sound of the reissue is somewhat close. However, here's the straight scoop. Fender is using the same old crappy pots that they use in their other amps. There is no volume until the pointer knob hits 3. Bad taper. The amp has a decent Deluxe tone after you get past this issue. Although it is a bit too shrill in the treble side. I opened it up to see the "point to point" wiring and what you see is far from the original or no where nearly as good as a Victoria Amp. There are a lot of clip on connectors and outside of a few decent looking capacitors..this is not what I would call Authentic at all. Especially for the money. I would save a few hundred and buy a Victoria all day long instead.

About as reliable as any new Fender..probably no better and no worse

I would really consider another amp..if you want a Vintage Deluxe Amp..Look at Headstrong or Victoria..They are doing it right..

Brand-new (April 2007) '57 Deluxe reissue. Fender's updated version of the old tweed 1 x12", 12 watt, 5E3 circuit combo amp...handwired and built in the U.S. Simple amplifier with only three chicken-head controls of tone, instrument volume and mic volume. Four inputs with two for the instrument volume and two for the mic volume. Inputs #1 having more output than inputs #2. Tube complement is two matched 6V6 power tubes, two 12AX7 preamp tubes and a 5Y3 rectifier tube...tubes supplied by Groove Tubes. Speaker is newer Jensen (Italian-built) P-12Q alnico speaker rated at 40 watts. Lightweight finger-joined pine cabinet; light as evidenced by amp's total weight of only 25 lbs. Lacquered tweed covering, gold grille cloth, brown leather handle. Brown cover included, as is a manual. Definition of previous mention of amp being updated meaning the model has a standby switch of course and an external speaker jack. To a different degree the update includes 12AX7 preamp tubes vs. the 12AY7s in the original, with a 12AY7 to be substituted in the first position if desiring less gain.

Amp is basically clean up until about 4 or so on the volume dials (all three dials going to 12), some moderate breakup and additional volume until 7 or so and beyond that adding more breakup and compression. With the rectifier supplied the amp is capable of much sag or compression. Good balance between bass and treble strings, especially evident when playing first position chords at cleaner and moderately cleaner volumes. For louder volumes the speaker holds up well, especially with the tone control past 7...any less being a bit bassy. Using a humbucking-equipped guitar adds to the bassiness and the tone control is best at near full turn. With a single coil-equipped guitar less addition of the tone control is more pleasing, it can get somewhat bright. (However, the tone control is key in adding gain...it shouldn't be set too low if a lot of gain is desired.) Either type of guitar retains its signature tone in this amp and both, when cranked, exhibit some great fatness and sustain. In fact the amp gets downright nasty when cranked. Adding a boost pedal really sets these qualities into motion and help tighten up the slight looseness the amp can have when cranked. Separate volumes can be jumpered to naturally add extra fullness...also can be done without a patch cord but is then less variable. Mic volume inputs tend to run a bit bassier, the instrument inputs are not only clearer but also have more gain. Surprise of the amp is its volume...much louder than 12 watts initially suggests. A/Bed against a 22 watt Deluxe Reverb reissue the '57 Deluxe reissue was just as loud. Less headroom of course, due to the nature of the circuitry. Won't really compete with a loud drummer or loud band, especially depending on size and type of venue and crowd size and conditions, but then that's where an SM57 comes into play. End result? This amp really fits well with country, blues, roots and straight-ahead rock.

One downside so far is a "whining" rattle, especially on the low E string...the top back panel is not flush with the amp and when pushed in by hand the whine stops. Not too loud when the amp is cranked but if playing in the lower registers and at a lower volume, it could be enough of a problem to have fixed through the warranty. Otherwise the amp appears to be reliable, after all, it is quite simple in design.

Have dealt with Fender before on warranty service (amp comes with a five-year warranty) with other Fender amplifiers and have never had a problem. Local dealer/service center is quite prompt, reliable and work is of good quality.

The amp is as advertised...an updated (I have played several of the originals and at one time owned an old tweed Deluxe) version of Fender's '57 Deluxe. Simple in nature and easy to quickly get a great tone. A bit "hotter" than the original and in this amp...and day and age...that's welcomed.