In the late 40's and early 50's, circuits used in guitar amplifiers differed markedly from what was to become the industry standard later on. Two factors contributed to this. First, the economy of parts afforded by the use of a grid-leak bias circuit in the first stage of the amplifier, and second, the push-pull driver technology that was prevalent at the time. Both these differences tend to produce an appreciable amount of distortion that contributes to the unique musical tone these amps possess. They produce a wonderfully ringing tone that is usually only associated with single-ended designs. The 53 Deluxe is one example of this type of amplifier.
The Fender 53 Deluxe in its original form used two 6SC7 tubes for pre-amp and phase inverter, two 6V6 tubes in the push-pull power section producing about 12 watts, and a 5Y3 rectifier. This amp had two channels feeding separate sections on the first 6SC7 tube with two volume controls and one tone control. In the Miniatures version I substituted 12AX7 tubes of the 6SC7 tubes, and 12AU7 tubes for the 6V6 tubes, with a solid state rectifier. Into an 8 ohm load, this amp makes 2 watts clean and about 4 watts peak power. Instead of two channels, the Miniatures model has a single channel with parallel drive resulting in two volume controls and one tone control that only works with the second volume control. The first volume control used by itself will produce a very dark and guttural tone that is especially useful for harp players. With a guitar I find it easier to get my tone by first adjusting the second volume and tone control followed by adjustment of the first volume control to add thickness. The fourth control across the front is an over-drive feature and can be used to increase sustain. In addition, a 600 ohm balanced line-out with a level control is located on the back of the unit that can be used for recording purposes or sound reinforcement. This line-out was designed to be faithful to the speaker load of the amp. What you hear from your speaker is what you will record.
The tone and touch characteristic of this amplifier is very similar to the original, and coupled with a de-tuned speaker cabinet is at home on stage as well as in the recording studio.
