Fender deville 410 user manual

Buy Used. Show More. Sporting a tube preamp made entirely of 12AX7s and headroom like that of amps with 6L6 tubes, the Deville III will give you a ton of gorgeous sound that takes pedals just as well as its onboard effects, like its classic Fender spring reverb. With an effects loop and the ability to push into a creamy overdrive, the tonal possibilities are endless.

Want to Sell Yours? Anyone can sell on Reverb. Learn more on the Seller Hub. Similar Products. From the Price Guide Sell Yours. Reverb Gives Your purchases help youth music programs get the gear they need to make music. Carbon-Offset Shipping Your purchases also help protect forests, including trees traditionally used to make instruments. Also, don't use this to complain about the touchy master control or the plastic input jacks—trust me, Fender knows. People have been complaining for years.

Why would they change anything on the 1 selling Fender amp of all time? If you honestly have a problem that only Fender's support can answer, then contact them through email, otherwise use the Fender Forum.

If your amp is under warranty, and an authorized tech has attempted to repair it three times and failed, Fender will replace your broken amp with a new one. While I've heard evidence to support this, I haven't officially heard it yet from a Fender representative. So ask your local authorized Fender repair person. To help make the transition Fender made sometweed Hot Rods the first few years.

This version was not lacquered to reduce cost , and containsthe same Eminence speaker as regular HRDxs. It is uncertain how many were made. Special thanks to IkilledKenny54 for thepictures. They're known as 'Fender Special Runs,' and are usually made specifically forcompanies who request them. Mexico will also be building special runs in the future when they're in demand. Previously, a blonde version of the Blues Junior was available for a year or more.

If the blonde tolex tickles your fancy you may want to check it out. Special thanks to 'Dan the Man' for the pics! The first had a regular finish and other a three tone sunburst similar to a vintage Strat. Reynolds is a master wood craftsman and guitarist who built two cabinets one for himself and one for me. The cabinet is solid maple birds-eye maplesides - it looks amazing up close and features two 12' Eminence speakersarranged vertically with foam sound insulation inside to prevent acousticwave pooling.

The bottom speaker is the Eminence Legend V The topspeaker is the Eminence Legend GB The two speakers have different tonalcharacteristics and together in this closed back cabinet sound huge andabsolutely amazing. It's well known that the stock speaker is an Eminence, but which one exactly? Webmaster note: not necessarily true. My stock speaker was a Celestion G12P, which I thought didn't sound too great and swapped it out with the famous Celestion Vintage I've often heard itreferred to as 'brown label,' 'gold label,' or 'special design,' but to find out for sure I contactedEminence's customer service.

Its power is rated at50w and has a ceramic magnet. The non-special design Legend s are rated at 75W. Theblack and blonde tolex Hot Rods come with the Eminence Legend Groove Tubes uses a number and colors color system to represent how early theirs tube break upinto distortion.

The blue labeled Groove Tubes break up the earliest, and are numbered 1 through3. They're supposed to be used more for blues. The white labels have a medium breakup, arelabeled 4 through 7, and are the most common found in stock Hot Rod Deluxes.

The red labelshave the least amount of breakup, meaning the most clean headroom, and are numbered between8 and They're for really clean playing, or for someone who only uses the clean channel with adistortion pedal. We can clearlysee this tube was made by Sovtek; Groove Tubes just slapped their logo overtop of it.

They are atube matching service. Buying a set from GTs will cost you more than buying a matched set frompretty much anyone else.

In my opinion, it is not worth it. There are many great sites that sell thesame tubes as GTs, and cost a lot less. Note that GT no longer uses the color coded system. They now use a 'hardness' rating between 1and Power tubes with a '1' rating break up the earliest, and those with '10' are the cleanest. This number will be on a sticker at the base of the power tubes. The popping sound is normal. Everyone I've talked with has experienced it, though only at lowvolumes.

When the amp is turned down the pop is commonly heard, including in my amp, but atloud volumes you should not be able to hear it. I know of no ways to correct this. This is a complaint that I often hear. The reason it's sometimes difficult to resolve is becausethere are so many different things that can cause a loss of volume. Often times people will mess around with speaker and accidently plug into the wrong speakerjack. This isn't dangerous, but it will cause a great deal of volume loss.

The internal speakershould be plugged into the internal speaker jack , the one on the left, and NOT the externalspeaker jack on the right. See above picture. If we plug into the external speaker jack thevolume will go way down.

Take it to a tech. If, and only if, you're technically inclined and have good problem solving skills,then you could try the following steps to resolving the problem. I do not go into a lot of detail,like safety and the such, because I assume you already know all that stuff.

Plug your guitar into the 'Power Amp In' of the effects loop. Is there still a big loss of volume? Note that plugging into the Power Amp In will not be as loud as plugging into the input jacks,though it should be obvious whether you can still hear the problem.

Remember, the effects loopis placed between the Preamp and Power Amp! If the amp sounds normal when plugged into theeffects loop, then the problem is in the preamp ; else, if you still hear a big loss of volume, thenthe problem is in the power amp!

Most of the time the problem is in the power amp, though myHot Rod once had this problem and it was in the preamp. Always assume the tubes, as they cause the vast majority of problems in tube amps. This is whytubes are only used in a select few products. For this reason, you should always keep a spare setof tubes around for all your amps for whenever a problem appears.

Most of the time it will be abad tube. Trouble Shooting the Preamp: If you have an oscilloscope and a function generator, then thisshould be very easy for you.

For the rest of us, you'd be surprised by how much you can do withjust an electronic multimeter and the schematic. Is the problem only in the Drive channel? Thenthe problem is around V2B, turn the amp off, drain the filter caps, and check the continuity ofparts around V2B. Simple enough.

Often times when we check the plate voltage of the preamptubes, we'll hear a 'pop' as the red probe touches the solder joint—this is normal. If you checkthe plate voltage of a certain gain stage, and you read zero volts, then a plate load resistor hascome open, and we've found our problem. Once you've figured out which gain stage the problem is located in, check the continuity of all theparts in that gain stage—sometimes a trace or solder joint has just come open.

I was able toisolate the problem all the way down to a relay K1 , which lost its ability to make contact withits internal conductor. What I was hearing through the speaker was an 'echo' of the signal,caused by less-than-perfectly decoupled gain stages. Trouble Shooting the Power Amp: There are usually a couple things that cause a loss of volumein the power amp. The first is a shorted tube, which are known to char the screen resistors.

Idocumented such a case in the Problems Solved area. Theother is the 82K resistor on the phase inverter coming open, so that only one power tube isworking. I also documented such a case in the Problems Solved area. You should be able to tell if there's a short in the OT by checking the plate voltages,and then checking if there's any DC voltage on the secondary—which there should not be.

Thelast resort would be a blown speaker. Okay, I know this is pretty obvious. The main question is what kind of bulb to replace it with andwhere to get it. You can find the bulb at your local RadioShack. There's not much to replacing the bulb, but if it's your first time it may be a little tricky.

First, youunscrew the jewel cover. Second, you push down on the bulb because there's a spring underneathit. Third, you twist it with your finger in a counter-clockwise motion.

The bulb will pop out. Ifyou have trouble getting hold of the bulb, then use a piece of duct tape to help you get some grip. When you replace it just push it down and turn it clockwise.

I've heard that purple was the coolest looking, but when mine lit up it lookedpink! The grey foam is there to prevent high frequency oscillations and microphonics caused byspeaker vibration. It's there to stabilize the tube, and was added shortly after Mexico startedmanufacturing HRDs in the Summer of The foam is also a fireproof material and leaving itin will not cause any damage to your HRD.

In fact, removing it is probably a bad idea as I'veheard someone report 'ringing sounds' after they removed their foam. So leave yours in! This question has come up quite a few times. Obviously it can be done, but it'll take a bit ofelbow grease. Firstly you must relocate all the tubes behind the chasis. You'll have to make roomfor them, so expect to move the output transformer and choke.

It'd also be a good idea to plug upthose old tube sockets. Doug at Vintone has pulled this one off. Above is a picture of the final product.

Though it would be much simpler and less expensive to just use theextension speaker out, and hook it to an external cabinet. The two are similar in some ways and quite different in others. The obvious differences are thedrive channel and 'more' drive.

Both amps are sort of takes on a 59 Bassman according to Fenderwith the added drive, reverb and effects loop. That may be a stretch. From there there will be a mixing stage for the channels and reverb and on to the power amp.

This helps create the blusierpreamp breakup similar to a 59 Bassman. The tone stacks are sort of a cross between a 59Bassman and a standard Fender. Next comes the drive stage. In the BD it is a rather anemic singletube stage. In the HRD both halves of V2 are used. In the BD there is half a tube unused. Howmuch you like the distortion in either amp is really a matter of taste. The first stages are classic Fender except the BD uses a 22uf cathode bias cap while the HR usesa larger 47uf, which will create a bit more low end.

Coupling cap next is. Still a little more low end in the HR. The brightswitch in the BD is next. This is a non-standard Fender design, which bypasses a k resistorwith a pf cap. As the k resistor is attached to the k-volume control, it is only effectivein clean mode. The drive control in the HR is between the first and second stage. The second stage is unbypassed in both amps.

In the HR the bright switch is a. The tone stack follows the second stage. They are identical except the HR uses a k mid sloperesistor, while the BD is k. This will create a little less low end in the HR. The drive control precedes the 3rd stage in the BD, a standard Fender bypassed gain stage. The3rd stage is used in both clean and drive in the BD.

In the HR the 3rd and 4th stages are used in drive only. This tube is unbypassed. In More drive a1uf-bypass cap is switched in on the 3rd stage and a 22uf bypass cap is switched in on the 4thstage. The 4th stage is not used in the BD, but is just waiting to be modded in.

Note on bypassing. The gain in a tube stage is set by 3 components, the plate resistor, typicallyk in Fenders, larger for more gain the cathode resistor, typically 1. The cathode cap is not alwaysused but when it is, it will increase gain in different frequency ranges. Smaller will only raise gain in higher frequencies. The master for the drive channel follows in both amps.

From there the amps are nearly identical,except the HR has somewhat fuller reverb due to the design of the reverb return. The reverbcircuit and the effects loop are solid state.

The HR has an extension speaker jack that uses the 4-ohm speaker tap on the output transformer. The BD has this tap but it is not used but could beadded by a tech. In general these amps are similar. The BD will not stay as clean at higher volumes due to the 3rdstage always being active. The HR has 'improved' distortion drive with 'more drive' added. The HR has fuller reverb and an extension speaker jack. Both are good designs with plenty ofclassic Fender tone.

Hi Jeff, First of all, let me say I really enjoyreading your column every month inthe best guitar magazine on the market. I can never get my volume past2 before everyone is yelling for meto turn it down. Can you suggest anymods I can have done to help me withthis problem?

From one Jeff to another, thanksand keep the great articles comingevery month! Jeff Bissette. Hi Jeff, Thanks for being an avid reader of PremierGuitar and my column.