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Wally · April 17th, 2009, 05:40 PM

SCreamin' eagle, I wasn't accounting for whatever other instruments someone is trying to 'blend' in with. There are some situations that a Tweed deluxe is just not going to be able to deal with...clean or distorted....EX: loud drummers, loud bass players, loud horn sections, another guitarist with a 100 watt amp turned up. Micing or line outs are the
only options that could render a TWeed Deluxe usable in those situations.
Screamin' Eagle wrote: "Is it possible that it just wasn't possible at this time to make a 10-20 watt all clean amp? Maybe they just weren't there yet?"
See Cleve's post above. Good insight there, imo. Fender definitely was not concerned with 'high fidelity'. And, yes, technology advances. Better rectifiers, different tubes....
That said, contemporaneously with the TWeed Deluxes, there were tube amplifiers that could produce 'clean' sonics for that time. Expense, necessity, and more importantly suitability for the purpose probably prevented Leo from designing guitar amps that went in that direction. IN retrospect, I have to make the observation that he did things very well, indeed. IN this day and age of almost unlimited wattage potential, we may have a hard time ;understanding how they made music back in those days. I have a sneaking suspicion that people might have listened better back then when there was absolutely no possiblity of the band abusing the audience with wattage.
As to c'clean' guitar amps, Leo kept moving toward the cleanest sonics he could achieve. What did it get him? Marshall came to virtualy dominate the rock guitar with amps that were designed after the 5F6A BAssman....which was 'dirty' compared to what Fender was building in the '60's. Then, in the late '70's, Fender went to the ultra-liinear output in the larger amps. Some people like that very clean tonality for guitar, some hate it. I think it is ideal for steel players.

April 17th, 2009, 05:40 PM	#23 (permalink)
Wally Poster Extraordinaire Join Date: Mar 2003 Location: Lubbock, TX Posts: 6,010	SCreamin' eagle, I wasn't accounting for whatever other instruments someone is trying to 'blend' in with. There are some situations that a Tweed deluxe is just not going to be able to deal with...clean or distorted....EX: loud drummers, loud bass players, loud horn sections, another guitarist with a 100 watt amp turned up. Micing or line outs are the only options that could render a TWeed Deluxe usable in those situations. Screamin' Eagle wrote: "Is it possible that it just wasn't possible at this time to make a 10-20 watt all clean amp? Maybe they just weren't there yet?" See Cleve's post above. Good insight there, imo. Fender definitely was not concerned with 'high fidelity'. And, yes, technology advances. Better rectifiers, different tubes.... That said, contemporaneously with the TWeed Deluxes, there were tube amplifiers that could produce 'clean' sonics for that time. Expense, necessity, and more importantly suitability for the purpose probably prevented Leo from designing guitar amps that went in that direction. IN retrospect, I have to make the observation that he did things very well, indeed. IN this day and age of almost unlimited wattage potential, we may have a hard time ;understanding how they made music back in those days. I have a sneaking suspicion that people might have listened better back then when there was absolutely no possiblity of the band abusing the audience with wattage. As to c'clean' guitar amps, Leo kept moving toward the cleanest sonics he could achieve. What did it get him? Marshall came to virtualy dominate the rock guitar with amps that were designed after the 5F6A BAssman....which was 'dirty' compared to what Fender was building in the '60's. Then, in the late '70's, Fender went to the ultra-liinear output in the larger amps. Some people like that very clean tonality for guitar, some hate it. I think it is ideal for steel players.