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Discussion Starter · #1 · (Edited)
So Tweed Deluxe builds are nothing new and many members here have built one themselves with great results. My journey to one was not a very straight path but I was recently fortunate enough to pick up one that ticks all the right boxes made by Whitby Ontario amp builder Steve Moratto.
Forehead Nose Head Eyebrow Mouth

Although I had played through Tweed amps, I had never owned one and, for the first thirty years of my playing, probably never really wanted one. Blackfaces, Silverfaces, Marshalls of all eras, Traynors and Gibson Lab series amps were in all the schools (and therefore generally despised); these were the amps of myself and my cohort growing up. When Boogies made there way up to the stores here in Toronto, we thought that this was going to be the amp of our dreams and, for some, they were just the ticket. One of my friends ordered up a Bogner Ecstasy when they were still considered "unobtainium" and I really thought that amp was the Holy Grail at that time.

I started travelling and living abroad for extended times in different countries, travelling back and forth, so I put the Ampeg VT-40 I had at the time into storage and started using Line 6's original POD which I could throw in my suitcase and play in hotel rooms and in the very small apartments I found myself in without adding much to what I was carrying. I once saw a great American G.I. guitarist in Seoul in the 1990s playing Pat Metheny-esque style jazz on a Steinberger and I thought, "I know exactly why he chose that guitar and it has nothing to do with what it sounds like." (Although it sounded fine.)

Coming back to Toronto, I eventually saw myself in apartment living once again and solved my amp and recording problems with a Kemper - which I still think is one of the better solutions for apartment living. But I started thinking, "I can get any sound I want in a profile on the Kemper and can always have them at the optimum volume at 3AM but I would also like to have a really responsive 'real amp' to play as well." I noticed that the profiles I liked best were Tweed and Blonde era Fender amps.
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I also knew my two favourite jazz players from the late 50s early/60s, Kenny Burrell and Grant Green, got great sounds from Rudy Van Gelder's 5E3 deluxe and that Kenny lent his own personal 5E3 to Wes Montgomery to record his first album "The Wes Montgomery Trio". (See the Tweed amp in the corner of the Burrell photo). Larry Carlton also achieved many of my favourite edge-of-breakup sounds with an earlier Tweed Deluxe. How could you go wrong with that pedigree?
Glasses Musical instrument Hand Hairstyle Photograph

But when I watched people on videos cranking these 5E3s up, that never related to the sound I was looking for. They seemed too 'wooly' and the bottom end seemed to loose - sometimes approaching fuzz boxes. I watched videos of various builders Tweed amps and saw Carl's Custom Amps "Tweed Super" build and, despite not needing the extra power, I thought this was probably better for this cleaner sound that I am after for home playing and recording than the 5E3.

Then I saw two amps made by Steve Moratto advertised on Kijiji a few weeks back. I had been hearing Steve's name from people who were happy with his builds for the past 15 years or so. A 1 x 12 bassman sold almost immediately but this Tweed Deluxe was sticking around tormenting me day after day.
Wood Rectangle Electronic instrument Audio equipment Font

Description
Vintage 1950’s Astron coupling cabs
Heyboer trannies
Many vintage parts throughout
1968 Jensen c12n
Amp has all the mojo
Derrick Bell cab
Shoe Hood Wood Rectangle Automotive exterior

Having the amp put together by a local fellow with a good rep sat better with me than buying something someone less knowledgeable had thrown together in their basement or paying someone from the States to send it up.

The NOS parts and speaker are what sold me.
Automotive tire Motor vehicle Automotive design Audio equipment Vehicle

I didn't realize it was Mr. Moratto, himself, selling the amp until I called and arranged to buy it. We chatted and he was really great about sharing his knowledge about the amplifier, its parts and other options, both on the day of the exchange and in a later follow-up call.

The result is: I have never been happier with an amp than this one!

It gets that harmonically complex clean sound I am looking for effortlessly. It is instant Burrell!
(Or Tom Petty if you want.) The single note lines are so fat that you can play melodies that don't sound anemic compared to a horn playing the same. I used have to play with considerably more gain to achieve the same. Also although I am a reverb fanatic, the clean sound is so rich, this is the first amp I can play for extended periods of time with reverb or delay.

I also worried about using it at home in the apartment because Tweed Deluxes are said to go from silent to too loud to "not loud enough behind a drummer". I heard one person describe Deluxes as being "the worst of both worlds", so I arranged to get my hands on Fryette power station.

But while I have been waiting for the PS100, that hasn't been my experience at all.

If you are trying to sound like Neil Young then you are definitely out of luck in the apartment. But experimenting with the different interactive 'channels' you can definitely turn up to "2" on the amp and use your guitar volume to control matters. I can get beautiful cleans for practicing at TV volumes with the guitar volume turned down.
Julian Lage
I also worried that soloing on the low E would be too flabby even at low volumes. I thought I would probably have to go to the bigger Tweeds to avoid this. This is what made me steer away from a low wattage Champ ala Julian Lage and his Champ. A great sound but I could see avoiding the low E with that sound. Also not the case for me with this Deluxe - At least with the Jensen c12n speaker
Brown Wood Bag Audio equipment Material property

Steve did introduce a switch which bypasses some components. When the switch is in the "up" position it is stock but in the "down" position it creates a flatter response making the attack less 'peaky' useful for playing less obtrusive rhythms and having the amp breakup a little less quickly.

So in the end, after having lots of reservations, I am totally happy I chose the 5E3 and I would encourage others who are pursuing that "dream clean" and edge-of-break-up to not be discouraged from choosing this amp for this purpose.

I was also totally happy with Mr. Moratto's service and professionalism. Calling me back to follow up on the sale and explain a little more about the amp, was "added value" on what was already a fantastic deal.
 

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Discussion Starter · #3 · (Edited)
Good story!
I am going to have to find a tweed deluxe now,
enjoy your new inspiration.
Nice! I am happy if that ends up being the circuit that delivers the sound you are looking for.
Steve Moratto puts a really good one together - or you might try to put together your own!
moratto amp shop

Initially, I was discouraged by the idea of having one at home. People were saying that a Champ was the only answer but I wasn't hearing what I wanted to hear out of the Champs.

Others said that even the "bigger iron" Tweeds were easier to turn down than the Deluxe just by nature of its circuit - and that was the way I was planning to go - but why have that much amp that you are not using?

I still think that Kemper or Ax Fx or Helix Stomp etc are the most flexible home solutions.

A Champ does make more sense if you are liking what you hear out of one.

But using the circuit that actually recorded the sounds I am trying to emulate has been the right ticket.

I will probably use it most often with the PS-100 at home but then I will have the flexibility of using it in louder environments when I wish. The speaker will also help for louder clean sounds with less speaker distortion (or vice versa if that's what you are after):

Jensens
C12n - 50 watts
P12q - 40 watts
P12r - 25 watts
Celestions
Creamback - 65 watts
Blue - 15 watts

The Blues are very expensive and popular but seem right at there limit with the 5E3 circuit.
The Brits seem to use the Celestions more for American amps probably because of price and accessibility.

Tweed Shootout
 

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So Tweed Deluxe builds are nothing new and many members here have built one themselves with great results. My journey to one was not a very straight path but I was recently fortunate enough to pick up one that ticks all the right boxes made by Whitby Ontario amp builder Steve Moratto.
View attachment 403591
Although I had played through Tweed amps, I had never owned one and, for the first thirty years of my playing, probably never really wanted one. Blackfaces, Silverfaces, Marshalls of all eras, Traynors and Gibson Lab series amps were in all the schools (and therefore generally despised); these were the amps of myself and my cohort growing up. When Boogies made there way up to the stores here in Toronto, we thought that this was going to be the amp of our dreams and, for some, they were just the ticket. One of my friends ordered up a Bogner Ecstasy when they were still considered "unobtainium" and I really thought that amp was the Holy Grail at that time.

I started travelling and living abroad for extended times in different countries, travelling back and forth, so I put the Ampeg VT-40 I had at the time into storage and started using Line 6's original POD which I could throw in my suitcase and play in hotel rooms and in the very small apartments I found myself in without adding much to what I was carrying. I once saw a great American G.I. guitarist in Seoul in the 1990s playing Pat Metheny-esque style jazz on a Steinberger and I thought, "I know exactly why he chose that guitar and it has nothing to do with what it sounds like." (Although it sounded fine.)

Coming back to Toronto, I eventually saw myself in apartment living once again and solved my amp and recording problems with a Kemper - which I still think is one of the better solutions for apartment living. But I started thinking, "I can get any sound I want in a profile on the Kemper and can always have them at the optimum volume at 3AM but I would also like to have a really responsive 'real amp' to play as well." I noticed that the profiles I liked best were Tweed and Blonde era Fender amps.
View attachment 403590
I also knew my two favourite jazz players from the late 50s early/60s, Kenny Burrell and Grant Green, got great sounds from Rudy Van Gelder's 5E3 deluxe and that Kenny lent his own personal 5E3 to Wes Montgomery to record his first album "The Wes Montgomery Trio". (See the Tweed amp in the corner of the Burrell photo). Larry Carlton also achieved many of my favourite edge-of-breakup sounds with an earlier Tweed Deluxe. How could you go wrong with that pedigree?
View attachment 403592
But when I watched people on videos cranking these 5E3s up, that never related to the sound I was looking for. They seemed too 'wooly' and the bottom end seemed to loose - sometimes approaching fuzz boxes. I watched videos of various builders Tweed amps and saw Carl's Custom Amps "Tweed Super" build and, despite not needing the extra power, I thought this was probably better for this cleaner sound that I am after for home playing and recording than the 5E3.

Then I saw two amps made by Steve Moratto advertised on Kijiji a few weeks back. I had been hearing Steve's name from people who were happy with his builds for the past 15 years or so. A 1 x 12 bassman sold almost immediately but this Tweed Deluxe was sticking around tormenting me day after day.
View attachment 403594
Description
Vintage 1950’s Astron coupling cabs
Heyboer trannies
Many vintage parts throughout
1968 Jensen c12n
Amp has all the mojo
Derrick Bell cab
View attachment 403596
Having the amp put together by a local fellow with a good rep sat better with me than buying something someone less knowledgeable had thrown together in their basement or paying someone from the States to send it up.

The NOS parts and speaker are what sold me.
View attachment 403598
I didn't realize it was Mr. Moratto, himself, selling the amp until I called and arranged to buy it. We chatted and he was really great about sharing his knowledge about the amplifier, its parts and other options, both on the day of the exchange and in a later follow-up call.

The result is: I have never been happier with an amp than this one!

It gets that harmonically complex clean sound I am looking for effortlessly. It is instant Burrell!
(Or Tom Petty if you want.) The single note lines are so fat that you can play melodies that don't sound anemic compared to a horn playing the same. I used have to play with considerably more gain to achieve the same. Also although I am a reverb fanatic, the clean sound is so rich, this is the first amp I can play for extended periods of time with reverb or delay.

I also worried about using it at home in the apartment because Tweed Deluxes are said to go from silent to too loud to "not loud enough behind a drummer". I heard one person describe Deluxes as being "the worst of both worlds", so I arranged to get my hands on Fryette power station.

But while I have been waiting for the PS100, that hasn't been my experience at all.

If you are trying to sound like Neil Young then you are definitely out of luck in the apartment. But experimenting with the different interactive 'channels' you can definitely turn up to "2" on the amp and use your guitar volume to control matters. I can get beautiful cleans for practicing at TV volumes with the guitar volume turned down.
Julian Lage
I also worried that soloing on the low E would be too flabby even at low volumes. I thought I would probably have to go to the bigger Tweeds to avoid this. This is what made me steer away from a low wattage Champ ala Julian Lage and his Champ. A great sound but I could see avoiding the low E with that sound. Also not the case for me with this Deluxe - At least with the Jensen c12n speaker
View attachment 403610
Steve did introduce a switch which bypasses some components. When the switch is in the "up" position it is stock but in the "down" position it creates a flatter response making the attack less 'peaky' useful for playing less obtrusive rhythms and having the amp breakup a little less quickly.

So in the end, after having lots of reservations, I am totally happy I chose the 5E3 and I would encourage others who are pursuing that "dream clean" and edge-of-break-up to not be discouraged from choosing this amp for this purpose.

I was also totally happy with Mr. Moratto's service and professionalism. Calling me back to follow up on the sale and explain a little more about the amp, was "added value" on what was already a fantastic deal.
Now that’s first class marketing! Great read, thanks for sharing. Would love to hear some sound clips if you can post some. What is your guitar of choice with this amp?
 

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Discussion Starter · #7 ·
Now that’s first class marketing! Great read, thanks for sharing. Would love to hear some sound clips if you can post some. What is your guitar of choice with this amp?
Why thank you! I did my best.

People often race on to the forums with their complaints but I thought I would post up something I was exceedingly pleased with.

I don't really know Steve Moratto. I have spoken to him about twenty minutes in total. I just bought an amp from an ad on Kijiji that he placed there. - but I totally dig it!

Also my amp a bit of a one of kind (in terms of the NOS parts) and so you can't buy exactly what I bought, but I think most of my experience would apply to any 5E3 user. I also think it would be great to support any local builders, be it Steve or anyone else, rather than having everyone in Canada getting their stuff shipped in from Lil Dawg or Carls. - I'd love to hear about other people good experiences with local builders.

I almost bought the EC Tremolux at an earlier moment of weakness but it seemed like too much money for what it was. Having Tremolo added to the circuit (without interactive controls) and an attenuator is great. I think someone could get a local builder to make one with parts that are better at a lower price point.

For clips, I have been doing mic-less recording for so long with the Kemper I don't even have S 57 here. But the Fryette is sitting on my doorstep today so maybe I will try the line out... But that won't give you a sense of the speaker...

We'll see.

My weapons of choice:
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Why thank you! I did my best.

People often race on to the forums with their complaints but I thought I would post up something I was exceedingly pleased with.

I don't really know Steve Moratto. I have spoken to him about twenty minutes in total. I just bought an amp from an ad on Kijiji that he placed there. - but I totally dig it!

Also my amp a bit of a one of kind (in terms of the NOS parts) and so you can't buy exactly what I bought, but I think most of my experience would apply to any 5E3 user. I also think it would be great to support any local builders, be it Steve or anyone else, rather than having everyone in Canada getting their stuff shipped in from Lil Dawg or Carls. - I'd love to hear about other people good experiences with local builders.

I almost bought the EC Tremolux at an earlier moment of weakness but it seemed like too much money for what it was. Having Tremolo added to the circuit (without interactive controls) and an attenuator is great. I think someone could get a local builder to make one with parts that are better at a lower price point.

For clips, I have been doing mic-less recording for so long with the Kemper I don't even have S 57 here. But the Fryette is sitting on my doorstep today so maybe I will try the line out... But that won't give you a sense of the speaker...

We'll see.

My weapons of choice:
View attachment 403738 View attachment 403739
Charlie Christian pups! Are those Lollars? Very cool!
 

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Discussion Starter · #9 ·
Charlie Christian pups! Are those Lollars? Very cool!
5 out 6 pickups are Lollar CC neck PUs.

I didn't dig the Lollar Blade Steel bridge PU in conjunction with the CCs. (It would be great in a one pickup Esquire.)
Its personality seemed too bright and cutting compared to the CC neck. It was like putting a completely different hat.

I solved it 2 ways:
1) A balanced 3 PU set specially wound by Lollar. (Strat)
2) Two neck PUs and a specially wound tele blade PU from "Vintage Vibe Guitars" - wound to P90 output. (It still doesn't sound like P90. It is a tele pickup with more output. (Tele)

I posted about it here: Charlie Christian Stratocaster

I prefer the rosewood necked strat of the two solutions in terms of sound - but she is not a 'looker'. : )
 

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Oh I like the look of the Strat. Even the volume and tone knobs play the part. Very classy, very unique. Never thought about CC pups in a Strat before but I’m intrigued and have enough Strats that I could equip one this way. Did you have to get custom made pick guards?
 

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Discussion Starter · #11 · (Edited)
Oh I like the look of the Strat. Even the volume and tone knobs play the part. Very classy, very unique. Never thought about CC pups in a Strat before but I’m intrigued and have enough Strats that I could equip one this way. Did you have to get custom made pick guards?
Those are run of the mill Bassman amp knobs but the "line" on them makes them practical.

You hit the nail right on the head. The "pain" with the triple CC strat is the pickguard. Lollar sells ones for tele and places the neck pickup a little higher (closer to the neck) and I couldn't get anyone to do that for a reasonable price.

Warmoth is the answer. They have a set template for their machine and no adjustment is possible. It is a special order but they did it for $40 US plus shipping. (A few years ago)

There are two ways to go with the Lollar CC for Tele neck PUs in a strat or tele. One is to get them pickguard mounted and the other is to get them body mounted. It is a questionable action to get them body mounted and more work for the tech to line them up with the guard. I just liked the way the body mounted ones look. It isn't practical but I'd do it again. : )

Oh they still get plenty of loud "cluck" in the in 2 and 4 PU positions but I prefer the sound of regular strat PU for that sound.

If I were doing it again, I might do a two CCs and a low wind humbucker in the bridge. Sometimes the bridge PU is still a little "honky" for me.
 

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Great first post. and Steve really does deserve the accolades. I met Steve in 2008 off of a Kijij deal. Since then I bet I've owned 14 amps that he's built. I'm currently getting one of his amps converted to 220v to be able to use it over in Europe. It was a speculative build that was based on a 1958 Ampeg Jet. I asked him to install a jack bypass on the trem speed to be able to install an expression pedal to modify the speed in real time.

Here is the amp, aptly coined as the Haloween amp.

Musical instrument Automotive radiator part Musical instrument accessory Wood Audio equipment




and the controls, ( I was impatient. I'd like to get a proper faceplace one of these days):
Grille Rectangle Font Gas Audio equipment






at 3:10 in this live recording you can hear the trem being affected by the expression pedal.

https://soundcloud.com/the-hurley-jam%2F2-electricity-1
Here is the whole live show

For this live show I was playing a number of Steve's excellent pedals. One is a "three in one" pedal that I would never sell. It's a Green Ringer, Moratto half watt Rock distortion, and a Early Tone Bender rendition Fuzz. (in that Order) I rarely if ever use the 1/2 watt rock and the Tone Bender together. and the 1/2 watt rock has two gain stages, and when each is used to drive the tone, you either get a smooth overdrive, or a heavier distortion. Both very useable.

Thanks for this kind thread about Steve. I was his best man on his wedding day and I can only say great things about his gifted amp skills. I often say that as Neo and the Matrix have a special relationship, well Moratto and Amp circuits are similar.

If anyone ever gets an older marshall replica / clone of his, with 20-35 watts, and Master vol, look out. they're amazing Too.!!

Cheers all,
 

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Discussion Starter · #13 ·
Hey thanks,

I have been around here a few years but posting under mateo2006.

Now that amp of yours is a real looker!

What an innovative approach to putting an expression pedal into a 1950s amp circuit.

Too cool!
 

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This site is required reading for all tweed owners.
The added switch is a three way feedback mod. Helps smooth out the overdrive.
The 5E3 circuit with an efficient speaker is plenty loud enough for any band without micing.
The other guitar player in my band plays through a Mesa Mark V with a 212 cab and the drummer hits hard. I'm the loudest in the room with the volume at 3.
At home, it sounds great at low volumes. That's what the different inputs are for.
 

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This site is required reading for all tweed owners.
The added switch is a three way feedback mod. Helps smooth out the overdrive.
The 5E3 circuit with an efficient speaker is plenty loud enough for any band without micing.
The other guitar player in my band plays through a Mesa Mark V with a 212 cab and the drummer hits hard. I'm the loudest in the room with the volume at 3.
At home, it sounds great at low volumes. That's what the different inputs are for.
Yes, that a great site.

The switch I have on mine from Steve is a two position bypass switch which does what I described.

I have just acquired a Fryette PS-100 and have been using it along with the Deluxe. Great piece of gear.

I am not sure it is essential for my way of using a Tweed Deluxe. I like the way the amp sounds with the volume way down low on the guitar - way lower than I would ever go with any other amp that I have had but I am chiefly looking for 'pushed cleans'. (I have a treble bleed on the volume pot of my guitars.)

The Fryette would be great with a Marshall or some other big amps. Probably great with a Champ you wanted to bring up in volume through another speaker as well. Being able to use the effects loop the PS-100 has is a plus as well.
 

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So Tweed Deluxe builds are nothing new and many members here have built one themselves with great results. My journey to one was not a very straight path but I was recently fortunate enough to pick up one that ticks all the right boxes made by Whitby Ontario amp builder Steve Moratto.
View attachment 403591
Although I had played through Tweed amps, I had never owned one and, for the first thirty years of my playing, probably never really wanted one. Blackfaces, Silverfaces, Marshalls of all eras, Traynors and Gibson Lab series amps were in all the schools (and therefore generally despised); these were the amps of myself and my cohort growing up. When Boogies made there way up to the stores here in Toronto, we thought that this was going to be the amp of our dreams and, for some, they were just the ticket. One of my friends ordered up a Bogner Ecstasy when they were still considered "unobtainium" and I really thought that amp was the Holy Grail at that time.

I started travelling and living abroad for extended times in different countries, travelling back and forth, so I put the Ampeg VT-40 I had at the time into storage and started using Line 6's original POD which I could throw in my suitcase and play in hotel rooms and in the very small apartments I found myself in without adding much to what I was carrying. I once saw a great American G.I. guitarist in Seoul in the 1990s playing Pat Metheny-esque style jazz on a Steinberger and I thought, "I know exactly why he chose that guitar and it has nothing to do with what it sounds like." (Although it sounded fine.)

Coming back to Toronto, I eventually saw myself in apartment living once again and solved my amp and recording problems with a Kemper - which I still think is one of the better solutions for apartment living. But I started thinking, "I can get any sound I want in a profile on the Kemper and can always have them at the optimum volume at 3AM but I would also like to have a really responsive 'real amp' to play as well." I noticed that the profiles I liked best were Tweed and Blonde era Fender amps.
View attachment 403590
I also knew my two favourite jazz players from the late 50s early/60s, Kenny Burrell and Grant Green, got great sounds from Rudy Van Gelder's 5E3 deluxe and that Kenny lent his own personal 5E3 to Wes Montgomery to record his first album "The Wes Montgomery Trio". (See the Tweed amp in the corner of the Burrell photo). Larry Carlton also achieved many of my favourite edge-of-breakup sounds with an earlier Tweed Deluxe. How could you go wrong with that pedigree?
View attachment 403592
But when I watched people on videos cranking these 5E3s up, that never related to the sound I was looking for. They seemed too 'wooly' and the bottom end seemed to loose - sometimes approaching fuzz boxes. I watched videos of various builders Tweed amps and saw Carl's Custom Amps "Tweed Super" build and, despite not needing the extra power, I thought this was probably better for this cleaner sound that I am after for home playing and recording than the 5E3.

Then I saw two amps made by Steve Moratto advertised on Kijiji a few weeks back. I had been hearing Steve's name from people who were happy with his builds for the past 15 years or so. A 1 x 12 bassman sold almost immediately but this Tweed Deluxe was sticking around tormenting me day after day.
View attachment 403594
Description
Vintage 1950’s Astron coupling cabs
Heyboer trannies
Many vintage parts throughout
1968 Jensen c12n
Amp has all the mojo
Derrick Bell cab
View attachment 403596
Having the amp put together by a local fellow with a good rep sat better with me than buying something someone less knowledgeable had thrown together in their basement or paying someone from the States to send it up.

The NOS parts and speaker are what sold me.
View attachment 403598
I didn't realize it was Mr. Moratto, himself, selling the amp until I called and arranged to buy it. We chatted and he was really great about sharing his knowledge about the amplifier, its parts and other options, both on the day of the exchange and in a later follow-up call.

The result is: I have never been happier with an amp than this one!

It gets that harmonically complex clean sound I am looking for effortlessly. It is instant Burrell!
(Or Tom Petty if you want.) The single note lines are so fat that you can play melodies that don't sound anemic compared to a horn playing the same. I used have to play with considerably more gain to achieve the same. Also although I am a reverb fanatic, the clean sound is so rich, this is the first amp I can play for extended periods of time with reverb or delay.

I also worried about using it at home in the apartment because Tweed Deluxes are said to go from silent to too loud to "not loud enough behind a drummer". I heard one person describe Deluxes as being "the worst of both worlds", so I arranged to get my hands on Fryette power station.

But while I have been waiting for the PS100, that hasn't been my experience at all.

If you are trying to sound like Neil Young then you are definitely out of luck in the apartment. But experimenting with the different interactive 'channels' you can definitely turn up to "2" on the amp and use your guitar volume to control matters. I can get beautiful cleans for practicing at TV volumes with the guitar volume turned down.
Julian Lage
I also worried that soloing on the low E would be too flabby even at low volumes. I thought I would probably have to go to the bigger Tweeds to avoid this. This is what made me steer away from a low wattage Champ ala Julian Lage and his Champ. A great sound but I could see avoiding the low E with that sound. Also not the case for me with this Deluxe - At least with the Jensen c12n speaker
View attachment 403610
Steve did introduce a switch which bypasses some components. When the switch is in the "up" position it is stock but in the "down" position it creates a flatter response making the attack less 'peaky' useful for playing less obtrusive rhythms and having the amp breakup a little less quickly.

So in the end, after having lots of reservations, I am totally happy I chose the 5E3 and I would encourage others who are pursuing that "dream clean" and edge-of-break-up to not be discouraged from choosing this amp for this purpose.

I was also totally happy with Mr. Moratto's service and professionalism. Calling me back to follow up on the sale and explain a little more about the amp, was "added value" on what was already a fantastic deal.
Hey, this is a cool post.

Steve has helped me out with some older amps that needed repair and had texted me about this amp, but I figured at the time this would be too much amp for my current needs. Kicking myself a little extra hard reading this but also cool to see it went to a good home. Also nice to see Steve get some well deserved accolades. I'm not lucky enough to own any Moratto builds currently but he has repaired and/or modded all but one of the handful of amps that I own. They all sound stellar now.
 

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Discussion Starter · #18 ·
Actually, it exceeds my needs as well. In fact, it encourages me to be a bad neighbour. - A Champ would exceed my needs for recording and unaccompanied playing. 😊

However, the sound I have been fascinated with (but falling short of) was those captured on those Blue Note recordings so it makes sense to spend some time with the actual circuit that was used in getting those sounds.

If you were following things on Kijiji at the time, you may have noticed that this particular amp lingered a bit longer than I would have expected (especially with the vintage speaker and other parts) and I felt that I just had to buy it.

I had to return my Fryette PS-100 attenuator (as one channel just stopped working) but as a chiefly clean, edge-of-break up player I like what happens with the sound when I am turning the volume down on the guitar. (I have a treble bleed) This is the first amp I have had that I feel this in such a strong way.

If you want to do Neil Young - or maybe even Don Felder - the ability to turn up loud or use an attenuator would be the ticket.

Just a note: The Fryette channel that was functioning really did what it was supposed to with hardly any change in the sound at all even with significant attenuation.
 
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