All user reviews for the Fryette Amplification Deliverance 60

See below. Description very complte.
Robust amp and well finished.
No frills, it's a real single channel that is not encumbered superfluous.
We love, or you do not like. I like !!


USE

Configuration is very simple, it is a single channel. Apart rglages traditional EQ, you can really shape the sounds varis thanks to the two knob GAIN I / GAIN II acting respectively on the voicing and the rate of OD.
GAIN I DO not bring evil as and like it turns right. The mini switch LESS / MORE allows also to expand the range of possible sounds on this head is really very versatile despite a single channel.



SONORITS

It took some time to find my rglages, mainly because of the fact that we should not hsiter sharply reduce the treble EQ (my taste of course).
I play mainly blues rock style, classic rock, and I mostly use the head in LESS mode. I thought at the beginning that the sound lacked fat, crmeux, and I thought for a few weeks that the head was not going to spend the winter !!
But once I understood the operation of the amp, I fell on the c ..... This head in LESS mode is a crunch box, adopts an incredible dynamic, which restores full and transparent Manire playing the guitar - this may be why I found it hard to me lol. To mourn a neck pickup Strat or a Les Paul screaming bridge pickup is happiness.
The sound certainly can be a little crmeux in the mids, but the head accepts the pedals so well that quality of TS-like really bring color, personally I hardly dishes gain on the pedal and it just messes mediums as we like .... Hummmmm !!

Mode MORE, I go back I GAIN knob to 2 hour to bring the body, GAIN 2 between 12 am and 2Het the heavy cavalry !! Sound british typ - PLEXI survitamin for the Hard / Heavy 80's we are in it with nothing. I do not really play metal, so I do not know what will this head with extreme distos, but for big sound heavy rock, the MORE way it's all good.

Despite the absence of a loop, I use reverb facade, with lightness rgle AC is happening in IMPECC LESS mode, MORE mode against a march at all, the sound quickly becomes messy.


NOTICE GLOBAL

I use this head with a 2 * 12 G12H30. It seems that it still sounds better on cabs Deliverance, but hey we do with what we have !!

I played over the past few months, and I think I am beginning to understand well. This is not a head easy to access despite its apparent simplicity but DLivre (hh !!) sounds a quality and variety of truly Surprisingly for a single channel head, and possde a dynamic that did not think about the many amps on which I played. It perfectly accepts the pedals and refreshed sonic palette is enriched accordingly.

For ceusses who are not looking Fender cleans of Crunches Marshall and Mesa distos but seeking his home in the range of crunches, from a quality of hardware and with their own personality.

I would not change it for anything.
If I turn the Bogner Shiva for .......................

Well, I should put a note maybe 8 or 9 since there is no effects loop, but I really like this amp to put a note that is not 10/10.

The switch more / less gain is really cool because it greatly expands the range of sounds from this amp. Too bad we can not change with a footswitch !!! The change would be impossible a priori, given the possibility that there is a voltage difference between the two channels.

Recently retubé with Tung-Sol 6550: PERFECT.

UTILIZATION

Simplicity in its purest form, whatever the setting, the sound is good, it just takes all the links in the chain are of high quality. For cons, I saw almost no video of this amp that I like on youtube (except Tristan Klein qd his videos were online, as are his videos that have inspired me to buy it). For me it's an amp to do yell, the settings used are often too standard, I think his personality is not clear.

Maybe I'll edit this to put an effects loop.

SOUNDS

I have several quite different groups (metal hardcore crust rock thing thing, death metal, heavy prog rock blues messy), it is completely the 3. I also brutal death with it sounded very good. There is only one in which I clean sounds where it is more complicated. 60W is more than enough !!!! I use a 4x12 NOS, a marvel.
My favorite setting: 2 micro gains to bottom but easy on the guitar, I just boost the bass, I put very strong, and there I take my feet. I find the sound a bit between Marshall and Orange, but suddenly it makes me sth that is, I think, quite unique.

Recording is top, various settings allow you to go from light to metal through the crunch or big rock Burne, in all cases it retains a rock side.
Live, having one channel does not mean having a single sound, it responds extremely well to the volume of the guitar, Jimi Hendrix play on this wonder of our days !! But it is true that having to play with the volume knob that slightly complicates the task.
It sounds to any pregnant (and that's caviar), and it is very faithful to the guitar used, so it multiplies the possibilities. Ditto for the pedals upstream, it reacts extremely well.

Where I find the best is when we begin to experiment, you have to push, feel free to push the knobs at the bottom, to see, or little gain but with the master at noon for an impressive crunch . Everything is interesting, you just find the sound that corresponds to the music.

It is not appropriate (in my opinion) to those seeking its ultra modern metal. Funk blues in my opinion it must be doing well, but I think there are better.

The tech who retubé said "this is what should happen in Marshall continuity plexi 70s." I actually think this is just a great amp, and that in 30 or 40 years, it will always be a great amp, which comes out real good sound.

OVERALL OPINION

I am more sure of the date I bought it, it should be 5 or 6 years that I have.

Before I had an ENGL Savage 120, great amp but with the default ENGL, a grain a bit garish, and not very easy to add sound (even if it is far from being the worst).

I tested:
- Fryette SigX: It is often presented as the deliverance but with more channels, I can not find, I find it downright less personality
- Bogner Uberschall: for me the St Grail, but bcp bcp more. And maybe now I find a little metal
- Engl Powerball: it was very nice but the default Engl (at least at the time): difficult to have sound, the sound hollow in which it does not pierce a mix
- Fryette pitbull 100W: bcp excellent but more expensive, and ultimately I prefer the Deliverance which is more refined and has more gain
- EVH 5150 III 50w: not bad p'tite this beast, to the large death or thrash is the big top. But I prefer my Deliverance 100 times!
+ Other amps but roughly Merdo, gave me no desire to change.

The price / quality ratio is excellent (especially when you look at the price of Cygnus' !!), and I had no idea myself how my choice was good when I bought it !!

In short, the sound is a matter of combining different elements, and there I found something that I like a lot and that is, I think, quite original.

This head in pramplification reoit four 12AX7 and two KT88 power to 60 watts. There are two SETTING THE gain, volume gnral, a switch by adding a gain Tagus, a legalization three bands, one SETTING THE prsence and rglage depth, which allows you to adjust the interaction between the head and cabinet. Then add a interrupeur and stand by. At the rear two speaker outputs and the selector 4, 8, 16. No exit, no effects loop. A single channel. It is therefore a minimalist amp trs. Even when damage to the effects loop. The finish is superb, trs class, it looks like a Marshall Plexi modern version. Note that it exists in version 120 watts. Honntement, seen as the 60 rings, I see the usefulness aps too.

UTILIZATION

The use is very simple. The trs rglages are effective, except for depth, which I did not feel useful. A single channel, a rest of any Manir quite simple. The manual is simple, though only in the language of rdig Jack the Ripper.

SOUNDS

The amp sounds good low volume. on the other hand, you need fingers of velvet for rglage as quickly becomes a high rev. The first gain setting (voicing) to get itself a quite slamming the (crisp) or somewhat crmeux (thick). SETTING THE second gain adjusts the gain level you want. I use a Les Paul, Stratocaster sometimes, on cabs in V30 and CL80. It parat it sounds better on his cab home. I did not test. For the clean sound is pretty average. It is right, rather acute. Even when it is necessary to gain at least for a ring. So, you get rich crunch trs, sumptuous, in a spirit quite Marshall, but with more low mdiums. The saturation is of the same accabit. She is never aggressive cages honey. It's going to gain far trs. Surprisingly what is with this amp is its versatility in the extreme crunch / Satus. Far from being limited to an amp hard / heavy rock, it is possible to get hot and bluesy crunch with trs, with lots of harmonics. A great amp if you do not want a real clean sound. But hey, it is not for Fender sound.

OVERALL OPINION

I have a few months. This is an amp engaging, with lots of characters, and quite rare, which does not gte. The ratio quality price is right. J'apprcie its crunch, its hot and Satus aisments flexible and versatile. I regret the absence of effects loop. But still the cheapest VHT is probably in part a. Who still plays in crunch, saturation, or the fact that single channel is not at all a defect, you can spend a nice crunch to a saturation, varying the volume on the guitar and the attack.

All features have been fully described in the previous opinion

UTILIZATION

it remains a single channel amp head with no effects loop: so spartan ... but can be more than enough. I confirm the previous opinion on the knob "depth" does not seem to drastically affect the sound.

SOUNDS

The first point that strikes with this amp is the sound power generated is strong, really strong.
Easily obtained clear sounds very interesting, very quickly after we start in an area where I think he excels: the crunch. It's pretty hard to describe because the emotional side prevents me from being objective, but I'm in love with it comes the crunch.
They point to a point that is true of all sounds: the dynamics is impressive.
After we go to the distortion that is typed enough for my taste (it's often identified with a plexi).
I find the grain of the most interresting with Miros simple as double, hard to describe exactly, it's a feeling.

OVERALL OPINION

It's a head very easy to use (due to the single-channel) that comes out of incredible crunch. In general the head does not forgive anything, the sound is at your fingertips, so be careful to have a clean game. I use it constantly with a signal booster Fulltone fat boost for me (Tristan Klein is right about the fact that the head responds extremely well to the pedals placed on the signal) and the gain is the volume knob guitar. Award me Seble reasonable considering the quality of manufacture, the exclusive and rare and of course the sounds generated.

Very simple layout for this amp. 2 KT88 tubes. Front panel is no surprises. 2 gain knobs. Bass, middle, treble, depth, presence...etc. It has the two gain stages obviously. This amp is really the antithesis of the Sig: X. It's a tribute in function to classic amps of the 60's and 70's. A no frills tone monster. It's meant to let you forget about the amp and focus on your playing really. Stripped down tone.

UTILIZATION

I got the deliverance because I was in a hard rock band for a while and I didn't need any cleans from my amp. I just wanted a good gainy head I could clean up with the guitar knob if I have to. The deliverance fit the bill. It's a really simple amp to use. Pick either less/more mode and go to it. You can use pedals with it but that's not really what the amp is about.

SOUNDS

In my setup I used a Les Paul Standard and a Bogner 4x12. The only effects I used with it was a delay and a boost pedal. The deliverance may be a one channel amp but in reality it's more like a two. The less side is something very unexpected. It has a low gain cleanish tone to it that's somewhere between a voxy chime and a plexi grunt. It's not a "clean" clean in other words. By using the volume knob you can get from various states of really clean to semi clean to fairly dirty. The more mode is a whole other animal. Basically take a hotrodded JCM800 and a dual rectifier and smash them together. You get the D60 more mode. It's got the thickness of a mesa with the mids and presence of a marshall. Better yet, it cleans up great. The thing to do with this amp is use your guitar volume and that's all.

OVERALL OPINION

The simplicity is the draw with the D60. It's not for tweakers or players looking for a ton of tones. If you need one good core sound that you can clean up with the volume and maybe tack a couple of pedals on, this is the amp for you. I play in a lot of different projects and this head could not hang in all of them. If you're in a band that uses mostly high gain sounds and little clean, this might work for you. Although you can get semi-cleans with the volume knob. The value is good. I would buy one again if I needed it for the application it fits.

Mono-channel amps are not very popular in France and Europe. This is the USA that they find many followers. This Fryette (or VHT) Deliverance was a challenge for Steve Fryette the moment of conception. In the minds and the current market of amplification, an amp that has 50 functions and not its double row of knob, which has no effects loop, is necessarily an economic amplifier ... This is completely wrong here!

Steve Fryette also explains in an interview that the reason behind the concept of Deliverance: build a simple amplifier circuit purified or nothing could alter and pervert the sound. A single channel which is ultra versatile ...

The note here is 8 because I am here in consideration the lack of effects loop which hinder some. For my personal use my grade would be 10 because it's exactly what I was looking for years in an amp, it's a matter of taste and fitness equipment & musician.

UTILIZATION

The Deliverance is simple but not simplistic, and despite the limited settings it is possible to obtain a wide variety of sound with. (See paragraph sounds)

The rating is 10 because I find it difficult to make simpler and more intuitive while being highly versatile.

SOUNDS

Like I said earlier, the Deliverance is simple but not simplistic! It is not trivial in its design. This is not because he does not have a multitude of control he is not versatile, quite the contrary ... First originality, it has two gain knobs. The first affects the very texture of sound. To the left is banging sound but thickens to become creamy as and when it moves to the right. Between these two extremes all the nuances and subtleties are possible. This pot is addictive. For me it is largely responsible for the versatility of the amp. This concept is certainly the era of the Marshall plexi when bridging the two channels bright (more clapping) & normal (creamier) to mix them together. Basically this gain control works the same way as if the two channels had been bridged internally and we adjusted the balance of these channels in the overall sound by a single knob. The switch "More / Less" allows you to enter or leave the 12AX7 circuit the fourth, again a change made to the classic Marshall Plexi for more preamp gain.

The second win he is traditional. It increases or decreases the amount of saturation without affecting the first base sculpted by the gain of voicing. Before even touching the EQ classic for beginning we leave everything at noon, you get to carve a clear slam, crunch, creamy and thick heavy saturation or overdrive well balanced. We really feel that making the sound to where it must act as if it gave the amp to his game and his desires. This concept is really exciting and I think it will be difficult for me to do way back and ironed on a concept more "traditional". It is also very useful to adapt the amp for the type of microphone, single or double style guitar, Les Paul, Stratocaster, etc..

The rest of the settings are standard with the bass, midrange and treble and presence. The other "original", this time it between quotation marks because this is not new, comes from the potentiometer "Depth", the equivalent of resonance knob on 5150. This control allows you to relax or tighten the bass. It is less obvious than the 5150 low volume and you have to push the amp a bit to collect the result. I tried it on a cabinet Celestion Vintage 30 Orange without receiving feedback really gross. Baffle on my 5150 is much greater. So I think the result will be different depending on the type of baffle and loudspeaker used. For now stay at home this control to zero.

To finish this amp is super dynamic and responds perfectly to the attacks of guitar picks and guitar volume, it is possible to spend a beautiful clear sound available at a rock crunch to a saturation and then shearing metal just playing with the volume knob on the guitar and how to attack the strings. Of all the amps I've played on it is by far the most reactive and it is very important for me.



OVERALL OPINION

For me the amp Deliverance is clearly inspired by the Marshall Plexi, through its various changes and modifications known through the ages. Despite its all-black livery, the overall look and line of the amplifier is also an evocation of the legendary Marshall. This amp reminds me very much my Marshall stack of 1972 but with some modern comforts and a lot more gain while having a voicing darker and sinister. It is his presence a little more pronounced in the lower midrange that brings the sound we say more "nasty".

The absence of effects loop does not bother me because I play with a Wet / Dry / Wet. The amp and effect goes directly into the baffle core. I then transplanted the sound of the amp via a Palmer connected between the amplifier and speaker for injection into the effects and then into another power amp, Peavey Classic 50 and two other speakers. However, I understand that a lot of users will be perplexed at the idea of ​​having no effects loop on this amp. The amendment must be possible but I have no use, so I did not even informed. I would add that when we see and hear the results due to poor quality loops effects and how it destroys the grain (there I think the Dual 5150 and correct) as not having one and find an alternative solution. ..

In my life I played guitar on a lot of amps, a Marshall stack 1972, a Peavey 5150, a Mesa Boogie Dual Rectifier first generation ... so on. These are amps that I liked and that I appreciate even for grain and character. But I must admit I have never enjoyed as much feeling of satisfaction and pleasure to play with this Fryette (VHT) Deliverance.

Very straight forward 60 watt tube head. 2 KT88 power tubes, 12AX7 pre-amp tubes, 2 gain controls, less/more gain toggle switch, master volume, bass, middle and treble controls, and depth and presence controls for the power section. And that's all she wrote.

The amp is a modern homage to the old days...so no effects loop, or silly wattage switches, etc...

UTILIZATION

Super simple to dial in. The manual is fine but unnecessary. If you're looking for an amp that does one great sound at a time and responds well to the guitar's volume and the player's picking hand that is it.

SOUNDS

Here's where the fun starts, the 2 gain control let you dial is easily anything tight and spanky to warm and woolly, regardless of the gain level. Unlike many amps where the higher you go with the gain the closer it gets to serious mud, not on this. In addition the difference in sonics between say gain 1 low/gain 2 high and gain 1 high/gain 2 low is pretty amazing. Only to be out done by the difference of running the combination of both gain controls high with the toggle set to Less as compared to running the controls low with the switch set to high.
The EQ controls are great for tailoring your sound since they're center in very usable range.
Depth lets you control the speaker excursion, making the sound tighter or looser.

OVERALL OPINION

If you're a fan of old Marshalls there are plenty of modded Marshall guys out there ready to sell you you a supposed better mouse trap. This amp has the feel of an old amp, just hppenes to be very well thought out. And has as much in common with old Hiwatts as it does with old Marshalls. And just like those amps it makes for an amazing clean amp as well as a crunch or gain monster.

Usually amps will react better to either guitar with single coils or guitars with humbuckers, this one handles both with equal grace.
Some folks will miss the effects loop on this, but for that matter they should look into the Fryette Sig-X, or use this in a wet/dry set-up.

I have the second generation of the Deliverance D60 that has the VHT logo. To me the VHT/Fryette amps have always had their own thing going on as far a voice goes. You can hear influences of British and American amps but Steve Fryette has his own take on tone. Some dig it some don’t. Anyway, I’ve always leaned to the Marshall voicing and not so much Fender or Mesa Boogie. To me the VHT/Fryette’s voice has more a Marshall/Hiwatt heritage than anything else. What I  think is cool and the heart of the versatility of this simple amp is the two gain controls. Gain 1 allows you to not only add some gain but also the EQ shift of the preamp. The more you keep Gain 1 to the left the more classic the voicing. To my ear it lowers the presence of low mids and bottom end. The more to the right you go the more the low mids and bottom comes in. The second gain knob brings in more gain on top of where you have it set with Gain 1. To me Gain 1 doesn’t affect the amount of gain as much as it does the voicing. Next is the “Less” and “More” switch that takes the amp from a more clean to classic/80’s  levels of gain to more modern levels. For me the interaction of these two gain knobs and this switch allow me to dial in the perfect mix of modern and classic or shift between the two depending on my mood. Then you have your typical EQ section with the addition of a “Presence” and “Depth” for added control. The amp from there is pretty much bare bones as far as features go which to me isn’t a bad thing. No loop, no line out, nor extra channels etc. I use a wet/dry set up so not having a loop isn’t that big of deal for me. My only wish for this amp is the ability to switch the “Less” and “More” remotely but really it’s not that big of a deal.

UTILIZATION

I found dialing in the Deliverance to be very straight forward and fit my needs for rock to hard rock.

SOUNDS

I play a Les Paul style guitar with a M13 for effects. Since there isn't a loop I used a Suhr line out between the amp and the speaker cab to run to a wet dry rig.

OVERALL OPINION

Overall I find the Deliverance to be a more raw and open amp compared to some of the other models offered by VHT/Fryette which I find cool but have a more refined tone. The amp reacts very well to volume knob adjustments and pick dynamics. I really have become a fan of playing like this over the years more so than having a bunch of channels at my feet. The amp also really punches when you want it to. I dig that for drop D tuning that I sometimes like to write in. The amp will do metal tones easily but I also I think it will surprise you how well it will do classic rock and bluesy tones too.