The internet echo chamber literally warps reality. In this case there were two main somewhat legitimate (within the context of the time these were made ie the 1970's) criticisms of the so-called (but not actually true) "Ultralinear" SFTR's. 1. The amp circuit was a divergence from the 'traditional' Fender circuit. That alone, in any era, will get you ample poo slung you way. However in many respects the circuit was also 'cheaper' and had some changes/elements which were totally indefensible from a purist standpoint. 2. The above changes which were driven entirely by cost saving measures also incorporated the speakers, which were inefficient, low power (for the amplifier's monster output) and which had an unfortunate treble quality which did not compliment the already bright amplifier. 3. The music scene of the mid 1970's bore no resemblance to the music scene of the 50's or 60's. Or at the very least was in a state of transitional bi-polarism (in terms of music styles and technology) which, arguably and unfortunately, Fender chose to pretty much ignore and stick to their roots in 50's and 60's country, pop and jazz. They designed these amps to be the absolute most extreme tools for a very niche and specific purpose: to be as loud as mathematically possible, to be as clean as possible and to stay clean to 150+db. Many people will say that the UL twins suck because they won't give up any power tube distortion. Those people are often idiots/uninformed, because twins never really did to begin with. It was always a loud clean platform. Sure Bloomfield and Green et al had made the tone of a dimed blackface twin something of a legend but most music was not blues rock (even in the 70s) and most performers did not have access to a PA system (that wasn't just for vocals) in most low-mid tier venues. That meant the twin was going to need to be turned up enough to get over a drummer and a heaving crowd and often organs or pianos as well. If you needed it to stay clean, you needed what Fender designed! How does this relate to the fact that they frequently show up on youtube now sounding amazing? Easy. Since the advent of extensive pedal and fx, modern high power ceramic speaker technology and the widespread use of the PA system the (maybe ironically) loud 12" twin reverb has found new purpose. Nobody can (easily) turn up even a 10w amplifier to the point where they can get power tube distortion on a mic'd stage. That means the vast majority of crunch comes from the amplifier's pre-amp tubes via drive pedals. So to summarise here's what you get: 1. Infinite clean headroom. With clean blues and other styles of music enjoying a resurgence in popularity you have an amplifier that can do that AND play rock n roll. Not many amps manage that even new ones. 2. Hand wired, point to point sound quality (it just sounds noticeably better) that takes pedals wonderfully 3. Tight projecting bass and mids thanks to the modern speaker upgrade (WGS ET65 or Eminence Legends) 4. Simply the best quality reverb and tremolo you can get (the reverb alone is 2 tubes, real springs and a dedicated transformer) in a combo amplifier 5. A master volume that works e.g. allows you to play a coffee shop or Wembley stadium using the same amplifier without compromising your tone too much. 6. A very robust and tough design that will still have almost all its 40+ year components and still will in 40 more years time You get all of that for $500-700. No you won't get power tube distortion. But the experienced musicians will tell you that while power tube distortion is amazing, especially for recording, a high headroom (or in this case endless headroom) pedal platform with all the bells and whistles AND its hand wired, for the money, is simply more desirable and practical. HTH anyway. I rock a 1977 myself and I have heard plenty of far more "valuable" amps, including blackfaces, that couldn't match it..
Sounds nice and warm! Really cool
For clean tones there are no better amps.
Best fkin amp !
Italians like their pro reverbs 🙂
Yep I'm Italian...And I have two!
Sounds really great! Why all the hate for silver face Fenders?
The internet echo chamber literally warps reality. In this case there were two main somewhat legitimate (within the context of the time these were made ie the 1970's) criticisms of the so-called (but not actually true) "Ultralinear" SFTR's.
1. The amp circuit was a divergence from the 'traditional' Fender circuit. That alone, in any era, will get you ample poo slung you way. However in many respects the circuit was also 'cheaper' and had some changes/elements which were totally indefensible from a purist standpoint.
2. The above changes which were driven entirely by cost saving measures also incorporated the speakers, which were inefficient, low power (for the amplifier's monster output) and which had an unfortunate treble quality which did not compliment the already bright amplifier.
3. The music scene of the mid 1970's bore no resemblance to the music scene of the 50's or 60's. Or at the very least was in a state of transitional bi-polarism (in terms of music styles and technology) which, arguably and unfortunately, Fender chose to pretty much ignore and stick to their roots in 50's and 60's country, pop and jazz. They designed these amps to be the absolute most extreme tools for a very niche and specific purpose: to be as loud as mathematically possible, to be as clean as possible and to stay clean to 150+db.
Many people will say that the UL twins suck because they won't give up any power tube distortion. Those people are often idiots/uninformed, because twins never really did to begin with. It was always a loud clean platform. Sure Bloomfield and Green et al had made the tone of a dimed blackface twin something of a legend but most music was not blues rock (even in the 70s) and most performers did not have access to a PA system (that wasn't just for vocals) in most low-mid tier venues. That meant the twin was going to need to be turned up enough to get over a drummer and a heaving crowd and often organs or pianos as well. If you needed it to stay clean, you needed what Fender designed!
How does this relate to the fact that they frequently show up on youtube now sounding amazing?
Easy. Since the advent of extensive pedal and fx, modern high power ceramic speaker technology and the widespread use of the PA system the (maybe ironically) loud 12" twin reverb has found new purpose. Nobody can (easily) turn up even a 10w amplifier to the point where they can get power tube distortion on a mic'd stage. That means the vast majority of crunch comes from the amplifier's pre-amp tubes via drive pedals.
So to summarise here's what you get:
1. Infinite clean headroom. With clean blues and other styles of music enjoying a resurgence in popularity you have an amplifier that can do that AND play rock n roll. Not many amps manage that even new ones.
2. Hand wired, point to point sound quality (it just sounds noticeably better) that takes pedals wonderfully
3. Tight projecting bass and mids thanks to the modern speaker upgrade (WGS ET65 or Eminence Legends)
4. Simply the best quality reverb and tremolo you can get (the reverb alone is 2 tubes, real springs and a dedicated transformer) in a combo amplifier
5. A master volume that works e.g. allows you to play a coffee shop or Wembley stadium using the same amplifier without compromising your tone too much.
6. A very robust and tough design that will still have almost all its 40+ year components and still will in 40 more years time
You get all of that for $500-700.
No you won't get power tube distortion. But the experienced musicians will tell you that while power tube distortion is amazing, especially for recording, a high headroom (or in this case endless headroom) pedal platform with all the bells and whistles AND its hand wired, for the money, is simply more desirable and practical.
HTH anyway. I rock a 1977 myself and I have heard plenty of far more "valuable" amps, including blackfaces, that couldn't match it..
Well said.
@@cgavin1this should be required reading! Well said