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Classic Fender tones.

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• Review

The inclusion of modulation effects within Fender amps has a long history. The tremolo-equipped Tremolux, introduced in 1955, and the 1956 Vibrolux boasting a sumptuous vibrato, are just two examples from the illustrious annals. And that classic spring reverb is a significant part of anyone's definition of 'the Fender sound'.

This new small combo, introduced into the Vintage Modified series, mixes an all-valve configuration with a number of specific preamp voicings and on-board DSP effects.

Featuring the blackface livery admired the world over, offering a low output and a straightforward operation, it's likely to have a wide appeal.

The amp offers a 16-way rotary encoder that selects a number of preset preamp voicings that drastically alter the basic tone which can, of course, be tailored further by experimenting with the output stage.

These voicings are listed in the amp's manual and the majority are based - rather than authentically modelled - on classic Fender amps. The Tweed and Blackface sections each offer three choices based on differing drive settings and you can alter the amp's gain pot to suit.

There are two full-blooded metal tones, a soupy jazz option and even a pseudo acoustic tone based on an Acoustasonic. Add three British settings that tip their hat to either Vox or Marshall, and you theoretically have pretty much any tone you could realistically need.

The two-way EQ is extremely efficient too. The Vibro Champ needs just a single 6V6 to kick out its rated five watts. It uses just an eight-inch speaker too.

The provision of DSP effects is a leap forward for Fender and although only their level can be controlled in real time, via the dedicated control on the front panel, each specific effect is offered with a number of set yet different parameters: the delay, for example, is available in three contrasting lengths.

There are 16 effect presets in total which include the three delays, a trio of tremolos and a number of classic reverbs. It's also possible to combine a reverb with delay or either with a chorus thanks to a thoughtful inclusion of such a mix within the FX Select control's parameters.

The choice of effects represents a good spread, but there are some noticeable omissions: there's no flanger or phaser, for example – these make way for more 'Vibratone' selections.

Sounds

The classic Fender voicings are all present and correct and although we'd never suggest that the combo here offers a better tone than a vintage Twin or Bassman, the relevant voicings are certainly in the right ballpark.