FENDER HOT ROD DEVILLE 410 & PEAVEY CLASSIC 50 410
Written: Apr 29 '04 (Updated May 05 '04)
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Product Rating:
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Pros: Great tonal versatility, superior design and construction, light weight, relatively inexpensive.
Cons: Too loud to play at home or in an apartment building.
The Bottom Line: Nothing at this weight and price even comes close in terms of performance; everything with more features either weighs or costs much more.
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| drguitarcarter's Full Review: Fender Hot Rod Deville 410 |
The Fender Hot Rod DeVille 410 is a mid-priced professional stage tube guitar amplifier with solid-state reverb. This version of the Deville has four 10" speakers contrasted with the two 12" speakers of the DeVille 212 model. The Peavey Classic 50 410 is also a mid-priced professional studio and stage tube guitar amplifier with spring reverb. This is primarily a review of the Fender Hot Rod DeVille, but I will compare and contrast it with the Peavey Classic 50 because of the many similarities and small price gap between them.
For a general description of the Fender, see the web page
http://www.fender.com/products/show.php?partno=0213201000
For a general description of the Peavey see
http://www.peavey.com/products/shop_online/browse.cfm/action/details/item/00325700/wc/1A1B223/fam/TA/tcode/3/lassi.cfm
If you are even considering purchasing these amplifiers, you are already open to the idea that not all profesional guitar amplifiers need to have 12" speakers. Indeed, some of us believe that the 4x10" format generally sounds superior to most 2x12" and 4x12" cabinets.
A) GENERAL BACKGROUND
For general background information on tube ampliifers. I refer you to 1) Mike Soldano's excellent 1998 "Tech Article" at http://www.soldano.com/new/newsite.html, 2) Amps! The Other Half of Rock and Roll by Ritchie Fliegler, 3) Ask Gerald and Amp Tech Columns in Vintage Guitar Magazine written by Gerald Weber, Kendrick Amplifier's head honcho, and 4) recent historical reviews commemorating Marshall's 40th anniversary included in Guitarist Icons Special Edition, Guitar Player Special Edition, and Vintage Guitar October 2003.
B) HISTORY
In the late 1950's, Fender introduced the Bassman amplifier ostensibly to amplify the new Fender Prescision Bass. Guitarists discovered that the Bassman made a formidable blues and rock amplifier for electric guitars. The Bassman had a set of four 10" Jensen AlNiCo (Aluminum-Nickel-Cobalt) speakers.
Over the next decade, two general formats for electric guitar amplifiers developed. In America Leo Fender further refined his early amplifiers based on 6L6 and 6V6 output tubes. In Britain Jim Marshall freely admits he essentially substituted EL34 and EL84 output tubes into the basic Fender circuitry to create the basic Marshall amplifier. The classic American and British sounds were thus born.
In 1993 Fender Musical Instruments introduced the Blues DeVille amplifiers. (Leo Fender sold his company in 1965 and died helming G&L in 1991.) This appears to have been a simple attempt to update the 1950's Fender Tweed and Bassman amps for 1990's blues guitarist. The essential differences were the DeVille's modern speakers with ceramic magnets, a solid state rectifier, one channel with two inputs instead of two channels with two inputs, and digital reverb.
However, in the preceding 20 years, an entire industry had developed around hot-rodding guitar amplifiers. In particular, Mesa/Boogie made its reputation in the 1970's by purchasing stock Fender amplifiers, modifying them for much higher output, and then reselling them to the public.
Probably to meet this demand, Fender introduced the Hot Rod Deville in 1996/97. The sole difference between this new amplifier and the Blues DeVille was an extra switchable tube boost stage in the preamp. Fender labeled the new channel combining the original and extra preamp stages "more drive".
C) PERFORMANCE AND FEATURES-COMPARISONS
Since the Peavey Classic 50 410 is very similar to the Hot Rod Deville 410 and is only slightly less expensive, I will freely compare the two. The Peavey outputs 50 RMS watts with EL 34's, has normal and bright inputs, an effects loop, and spring reverb. It's fan-coolled. The Fender outputs 60 RMS watts with matched Groove Tube 6L6's, has normal and low-impedance inputs, an effects loop, and digital reverb.
The controls are almost identical. Both have treble, middle, and bass tone controls, reverb, and master volume controls. However, Peavey added a "Post" volume control to its drive preamp. Fender put in a bright switch into its normal channel and push-button drive/(more drive) selections. Both amps have full channel selections via optional, included, footswitches.
Both amps come with great covers. The Fender has a heavy nylon fabric cover with the Fender logo while the Peavey has a thick brown naugohide/vinyl cover with the Peavey logo sewn into it.
I've spent many hours playing both amps side-by-side. I've tried both with a 1996 G&L Legacy Special, 1976 Fender Stratocaster, and 2003 Gibson ES-345. With only the Deville 410, I've also played several other guitars: 1998 Gibson Gothic SG, 1997 Gibson Firebird, 2003 Gibson SG Supreme. All thse guitars can sound good through these amps. I also tried a full complement of effects: wah-wah, flanger, etc.
I fell in love with both these amps many years ago. I played my G&L Legacy Special through the Peavey years ago and loved its sustain. My guitar tech floored me with bell-like tone when he tested my '76 Strat through a Blues Deville after a refret. Since then I have come to prefer 4x10's to most 12" cabinets, and that's what I chose when I bought both amps.
The Classic 50 outperforms the Deville in only two ways. First, although the Deville provides a lot of sustain, the Classic 50's beautiful, long, smooth, creamy sustain overpowers the DeVille. The Classic 50's sustain was particularly strong with the ES-345's Classic '57 humbuckers. Second, the Classic 50's extra "post" volume control in the drive/distortion channel allows for full tone at low volume. However, normal sounds from the cooling fan and odd tube noises can come into play. In every other way, the DeVille appears to be vastly superior.
1) Sounds
First off, as anyone will tell you, the DeVille is quite loud; you ain't gonna be playing this with much tone in your bedroom or apartment building unless you connect to a Marshall Powerbrake. It's difficult to put it past 1 1/2 or 2 without wondering when someone will come knocking on the door. In a small club at 4 or 5 (out of 12!), this amp *alone* without the rest of band, will give you that static sound indicating ear damage. Full-out, they'll probably hear you across town.
The other identifying quality of this amp is effortless clarity. It exhibits wonderful responsiveness to your every move. Every note you play and your every articulation of bends and vibrato will be heard. This must be what Fender calls "touch-sensitive dynamics." The "more drive" channel can pulse out high distortion but not enough to coverup lousy playing.
The volume and clarity are probably both products of the Eminence speakers. They are "special design" with ceramic magnets, not AlNiCo, magnets and kapton voice coils. An annoying feature of the Jensen 10" AlNiCo's in Bassmans and Fender Vibro-Kings is their muffled nasal bass response, particularly at high volume. (These amps also had tube rectification.)
(The Peavey "Blue Marvel" speakers are probably AlNiCo, but I can't find any information on their design. They do not exhibit this same problem of the old Bassman and VibroKings.)
The DeVille also offers extraordinary tonal variety. Admittedly, the basic sound with all the tone controls in the middle is a litlte bright especially when compared with the Classic 50. But the low tones from picking and effects have a stunning clarity. And the tone controls permit a tremendous abiltiy to sculpt this sound. In contrast the Peavey Classic 50 has a beautiful warm Bluesbreaker sound, but the controls can't get you far away from it.
Both amps have about the same amount of distortion variability when comparing the Fender "more drive" with the Peavey. I've read and heard in person the preposterous claim that, compared with the Peavey, the DeVille "breaks-up" at too low a volume to be useable. As I have discussed, the DeVille is much louder at lower settings just like a lot of high-powered amps, e.g. the old Peavey Bandit 65 (65W RMS 1x12"), without the Classic 50's sequential Post and Master volume controls. But in terms of *distortion*, these amps are roughly similar. If anything, the Fender offers more control of light distortion by providing its separate "drive" channel.
As for digital reverb, the only clue to it being digital is it's clarity and the relatively light weight of the Deville at 50 pounds. No "digital "zipper" sounds pollute the Fender's reverb. The Peavey's spring reverb is no match for the DeVille's, and it's probably the main contributor to the Peavey's 13 extra pounds.
2) Overall Construction
Finally in terms of overall construction, the Fender is again far ahead. Every piece of it seems flawless. Even at high volume, nothing has shaken lose, and it has made no unusual sounds. The construction appears to be extremely solid, and I have not feared occasionally sitting on the amp like BB, Clapton, and the old blues kings. And at 50 lbs, although it's no bag of groceries, nothing at this weight and price even comes close in terms of performance; everything with more features either weighs or costs much more. I truly can put it in the trunk of my car and rock with the best.
Unfortunately, although the Peavey Classic 50 is a very good amp, it appears less solid. Upon delivery, the screws holding the amp chassis to the cabinet were quite loose allowing the chassis to swing at will and one of the screw-in insulator feet on the bottom of the cabinet was way out. (I have pondered whether unscrewing the chassis is a way of minimizing vibration transfer to the tubes.) The cabinet does not appear to be as strong as the Fender because the wood boards appear to be thinner, and it lacks the wood support across the back of the amp that the Fender has. (Both are open back combos.)
In addition, a few times the sound has dipped out and a few noises have come from the Peavey's tubes. Perhaps, I have not let the tubes warm up enough before playing. I did try changing power sources and the 3-position ground switch on the back of the amp without help. But these have been momentary problems.
On a bright note for Peavey, although I wanted a black cabinet cover for the Classic 50, the tweed covering forced upon me for the Classic 50 is quite beautiful. None of the pictures on the web do it justice. It's lighter and brighter than the Fender's '59 Bassman reissue.
I have one other annoyance with Peavey. Fender offers a 5 year warranty out of the box. Period. Peavey offers a two year warrany. To extend it to a full 5 years, you must register with them within 90 days of purchase.
D) OTHER AMPS IN THE 4x10 GENRE
Here are a few other amps to consider. I have not yet played through any of them.
FENDER PRO TUBE SERIES
Concert Reverb-50 W, 4x10" Eminence speakers, tube tremolo. 1/4 power switch, 85 lbs, spring reverb, solid state rectifier tilt-back legs, front controls
Musician's Friend Price $1260
Relative Disadvantages: 35 more pounds!, $500 more, lower total output
Relative Advantages: 1/4 power switch, tube tremolo, adjustable effects loop levels
This one came out after I bought my DeVille, and it made me think twice.
FENDER VINTAGE SERIES
65 Super Reverb “Blackface Super”
45 W , 4x10 Jensen Alnico, Spring Reverb, Tube Vibrato,, 65 lbs, spring reverb, tube rectifier, tilt-back legs, front controls
Musician's Friend Price $1190
Relative Disadvantages: 15 more pounds, $400 more, lower total output
Relative Advantages: tube "vibrato"
FENDER REISSUE
59 Bassman Limited
50W, 4x10 Jensen Alnico, 53 lbs, tube rectifier Same 6L6GT output tubes and 12AX7 preamp as DeVille. Essential differences are speakers, tube rectifier, and lower output than DeVille. 2 Channels with 2 inputs each. No reverb.
Musician's Friend Price $1160
Relative Disadvantages: $400 more. lower total output, no extra drive available, no reverb
Relative Advantages: tube "vibrato"
MESA/BOOGIE NOMAD 55 4x10" (Discontinued)
An expensive full-feature amplifier of extraordinary versatility including changing biasing between 6L6 *OR* EL34 output tubes at the flip of a switch. You can record or perform with it. This amp's reliablity is questionable based on comments on page 6 in the user manual explicitly stating that turning the gain knob to its upper regions may make the tubes fail. The 4x10 model has Jensen AlNiCo speakers.
E) CLOSING DISCLAIMERS AND REQUESTS
THIS IS MY OPINION based my experiences and judgment. You may disagree with me. Okay. Do not send me e-mail if you don't like the review. YOU must make up YOUR OWN MIND about what amplifiers sound good with your guitars and other equipment. This review can help in your search for the right equipment FOR YOU.
Finally, please support me and the review system in place here. Please, do not plagiarize this article. The boom has ended in California. I am an artist trying to eek out a few pennies. If you find this review helpful, please vote accordingly.
I HOPE THIS REVIEW HAS BEEN HELPFUL TO YOU!
GOOD LUCK IN MAKING YOUR OWN GREAT MUSIC!
Mark R. Carter, Ph.D.
Palo Alto, CA
April 29, 2004
Copyright 2004 by Mark R. Carter
Recommended:
Yes
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drguitarcarter
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Member: Mark R. Carter, Ph.D.
Location: Palo Alto, CA, USA
Reviews written: 2
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