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ZeB-WolFie
Published on 11/05/10 at 04:55
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.
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.
