While the DRRI is a favourite amp of many we are often reminded that the originals are even better. Unfortunately, original pre-CBS Fender Deluxe Reverbs (DR) are expensive, probably need 110V step-down transformer and at nearly 60 years old need regular maintenance to keep it going. The hand-wired Fender '64 Custom Deluxe Reverb (CDR), as an alternative, caught my eye. While not an exact reproduction the CDR captures many desirable DR features:
- Hand Wired;
- Tremolo (i.e vibrato) and Reverb available on both the Normal and Bright channels;
- Bias-modulated "Tremolo" like older brown face and tweed vibrato designs;
- Lighter weight than a DRRI probably due to much lighter speaker.
I was still on the lookout for a great Deluxe Reverb style amp and noted got interested in the 'boutique' Tone King Imperial MkII. These amps have a reputation of one of the best “Deluxe Reverb type” amps on the market. The hook was in and I purchase this amp 08/03/2022 for $4100. It seems that I may have dodge a bullet with technical reviews noting:
- Higher noise floor than either the original DR and even the DRRI;
- Bad wiring scheme and;
- Over-priced.
Design & construction
Overview
As Per the Fender Deluxe Reverb (DR), the Imperial MkII uses tubes across the audio path i.e. pre-amp, power-amp, reverb and tube rectification. While the rectifier is not in the audio signal path it provides power to every component on the board and as such has a de facto impact on sound. Tube rectification also adds sag and compression when cranked (unlike solid state rectification. Differences between the DRRI and Imperial include:- Bias Modulation Tremolo, a la Tweed and Brown Face Vibrato circuits;
- Solid state rather than tube based oscillator for the tremolo circuit in the DRRI;
- Single instrument input socket;
- Channel switching between rhythm (Black Face) and lead (Tweed deluxe) channels:
- 1st pre-amp gain stage (V1A) is shared by both the rhythm and lead channels;
- Mid-Bite control adds a 3rd pre-amp gain stage to the lead channel;
- Reverb and Tremolo provided on both channels;
- Cathode Bias Power Tubes (no need to adjust the bias for the power tubes);
- No negative feedback circuit and;
- Built-in Attenuator
Channel Switching
The Fender Deluxe reverbs have two channels, Normal and Vibrato on the Fender DR/DRRI or Normal and Bright on the CDR. The channels on these amps are very similar with brightness added on the vibrato/bright channels (via a bypass capacitor on volume control). The DR/DRRI has slightly gain on the vibrato channel due to an extra amplification stage in the reverb recovery. The Normal channel doesn't have the 'bright' capacitor and bypasses the Reverb and Vibrato effects. Leaving the effects aside, there isn't much difference between the two channels and in any case the channels can't be switched or mixed. In contrast, the Imperial provides channel switching either by foot-switch or the switch on the front panel with:
- Rhythm: Fender '65 Deluxe Reverb style with plenty of clean head room on low volumes and warm break-up when pushed;
- Lead: based on '57 Fender Deluxe which is breaks up at relatively low volume levels. It can be pushed in to Marshall like crunch when increasing a third amplification stage via the Mid-Bite control.
Tremolo
The Fender Deluxe versions (DR, DRRI, CDR) are all tube audio path and tube tremolo circuit (incorrectly called the Vibrato channel by Fender). Strictly speaking, the tremolo is not in the signal path. The original Black-face Fender Deluxe and Reissue combines the audio signal with a 'vibrato' waveform before it reaches the power stage. The Imperial and the CDR, like the Tweed and Brown-face Vibrato equipped Fenders, use Bias Modulation Tremolo waveform to vary the power tube bias. This approaches lead to smoother sonic outcome, less stacato/clicking than in the BF/DRRI designs. The Fender/Imperial Bias Modulation circuits produce a wider/deeper/warmer tremolo sound. It's worth noting that all Fender Vibrato designs are tube based (as was fashion at the time). The Imperial Tremolo circuit is solid state and it's not a bad decision. As mentioned, theTremolo is not in the signal path so the no sonic benefit of having tubes in the Tremolo. On the other hand, solid state is more accurate, reliable and doesn't need to be replaced as tubes do.
Build
The Imperial MkII construction employs a "hand-wired" PCB. According to the manual ... the MK II is built using a layout scheme I’m calling “hand-wired board”, which I believe to be an ideal construction method to extract the best tone from any circuit design. It has great advantages in terms of component placement, wiring length, and wire routing, and has a real, tangible effect on the sound and feel of an amp. In any case the constructions looks to be high quality and easy to maintain. One concern I have regarding the construction is mounting of the tube sockets on the PCB. This method results in high failure rates and I'm hoping this won't be a long term issue on the Imperial.
Built in attenuator
The manual notes, The MK II includes the new Ironman/II attenuator, which I feel is a great advance in that it provides Fletcher-Munson volume compensation to correct for the way the ear perceives sound at low volume, as well a circuitry that compensates for the way the speaker operates at low volume, to preserve the experience of playing a cranked amp at low volume better than had been done before.
Specifications
- Output Power: 20W - (enough for Goldilocks)
- Power Tubes: 2 x 6V6, cathode biased (no manual biasing required) with no negative feedback
- Preamp Tubes: 4x12AX7, 1x12AT7
- Rectifier Tube: 5AR4
- Preamp Channels: 2 (Rhythm, Lead)
- Rhythm Channel Controls: Volume, Treble, Bass
- Lead Channel Controls: Volume, Tone, Mid-Bite (extra gain stage)
- Reverb: Tube driven, full-size 2-spring long pan (much more subtle than on a Fender DRRI)
- Tremolo: Bias modulation type (much warmer than on a Fender DRRI)
- Foot-switch: industrial strength (and weight) footswtch controling channel switching and tremolo (but no reverb switching!)
- Cabinet: Dovetail jointed birch with solid pine baffle board
- Weight: 36.2 lbs. (cf. 42 lbs DRRI)
- Dimensions: 22-1/2” W x 19-1/4” H x 10-1/2” D
- Speakers: 12”, 8-Ohm Ceramic Magnet ‘Tone King 33’ Made by Eminence
- Attenuator:
- Built-In Ironman II Compensated Power Attenuator
- Precision Tuned Reactive Load
- Volume Level Compensation
- Dampening Factor Compensation
Review
The design changes give the Imperial has a unique voice providing:
- Brighter overall sound than the Fender original designs;
- The volume controls provide plenty of sweep from minimum to maximum when unattenuated. However, when using attenuation, the volume controls change gain/compression/breakup rather than much change in volume level;
- Lead channel mid-bite control (with it's extra gain stage) takes the '57 Fender Deluxe-ish sound into full blown Marshall crunch;
- Tone, reverb/tremolo controls don't have extreme range of the Fender DRs. They seem to provide fine tuning of the reverb/tremolo sweet spots. For example, the usable range for of the DRRI reverb is between 1-3. Anything above 4 might be OK for a special effect but never used in reality. Every setting on the Imperial from 1-9 is useable. The reverb also blends less wet signal with the dry signal so reverb has less depth;
- The tremolo and reverb is available to both channels, whereas the DRRI provides reverb/tremolo on the Vibrato channel;
- The attenuator provides breakup at reasonable volumes and good balance between clean and drive across the channels when required at lower volumes. In practice this means that the Imperial can be used anywhere: home, gigs jams, and studio;
- At 36 lbs. the lighter weight makes the Imperial easy to lug around than the DRRI. (The Imperial Mk1 was even lighter. The attenuator accounts for some of the extra weight).
At gig level the amp stands out in the mix with a singing sustain that I've not experienced with other amps, even the bass guitarist commented on how good the Imperial sounded.
The first time I used it once in the studio but didn't have the right pedals or the balance the rhythm/lead channels setup correctly. Since then I have played it live and in the studio many times. There was a learning curve for the setting up and maybe even just it getting used to the different sound. While it might be based on Fender designs the imperial has it’s on voice. I have had complements regarding how good the amp sounds from other guitarists so that’s a first.
The Imperial has much better sound possibilities stand-alone that the DRRI so I'm going to need experiment a bit to get the right pedal setup:
- Keeley Compressor: I use a compressor on the DRRI to provide sustain. The natural Imperial sustain (at gig levels) may make this pedal redundant;
- Tube Screamer: This pedal provides a little bit of extra mid-range distortion to the Rhythm and Lead channels. I find it sounds great and may replace the Fulltone OCD;
- Analog Man Chorus: It will probably make it's way back onto the board but the Tremolo gives a modulation effect which is enough for the moment;
- Fulltone Wha: the Imperial has a deeper wha effect than any other amp I've used.
A couple of grumbles:
- Can't switch reverb using foot switch;
- The supplied foot switch lead at 30 ft. is too long. It might be handy on a big stage but 10 ft is generally more useful;
- No amp cover;
- Circuit board mounted tube sockets;
- No wiring diagram.
Summary
I like the Imperial more as familiarity with amp grows. It is my first amp that is perfectly usable without pedals: Guitar -> Lead -> Amp. It has many features that make this my most versatile amplifier:
- The two-tone turquoise looks stunning;
- Weighs less than either a Fender CDR or DRRI;
- Rhythm (Blackface voicing) and Lead (Tweed voicing) channel switching via foot-switch;
- Reverb and tremolo on both channels;
- Attenuator;
- Bias modulation tremolo circuit delivers a vintage-style smooth tremolo;
- Cathode bias (no need to adjust bias);
- High quality "hand-wired" board construction, i.e. expect improved reliability:
- Solid industry reputation for sound, features, quality and reliability.
It’s the kind of amp Fender should be making.
