Collectors hunt the blackface models and players hunt the silverface for it’s quality and price.The push/pull volume boost was installed in 1977 by CBS.
Then we pulled the V1 preamp tube and replaced the tremolo intensity pot with a new switchable one that can completly disconnect the tremolo circuit from the signal path when turned to zero (see tremolo disconnect mode below), both to thicken the tone by increasing the preamp gain in the amp. The pick attack was now acceptable and the hard treble frequencies were compensated with punchy lower mids.
These mods took us 25 minutes including assembling the amp chassis and cabinet back together. It was now much easier to find a sweet spot and good EQ settings and we enjoyed a lot playing the amp with no boost pedals.
First we implemented the bright cap mod due to the bright speaker.
This easily tamed the upper shrill notes allowing us to use the treble pot beyond 4 (all reissue amp owners with new Jensen C12n, read and learn).
The DR is a small/medium-sized amp with an ability to deliver both sparkling clean tones and low wattage breakup at 22W with 6V6 tubes and relatively small transformers (power and output).
It has found its way in to more recording studios, clubs and bars than any other Fender amp. It is just powerful enough to cut through in practise in a band with a drummer and, unlike some bigger amps, it will reach its sweet spot at a reasonable volume.
The circuit was then significantly different from the blackface circuit.
Hence, the price for this amp is lower than it’s predecessors.
Even the in-between pickup positions on strats came out quacky and cool without breaking our ears.
The amp was now a true texas hot rod amp reaching an approx. The tone reminded us very much of the 64′ Vibroverb diaz mod from Fender custom shop, just a little sweeter with earlier breakup. A few years later we have several spakers in this amp next to the JBLd120f.
It will not cut through the mix as easily as the stingin tone of the Deluxe Reverb.