VVT Amps Lindy Fralin Model

There's an undeniable Fender influence as soon as you flick the standby switch, but you can't really pin it down to any specific era. At low volume it's blackface all the way, but as you crank it, the high end softens and the midrange gets thicker in a tweedy sort of way. The 15" speaker is also fundamental to the sound of this amp. Anybody who associates them with bassy tone should think again. This Eminence Legend is just as bright and chimey in the treble as it is deep in the lows, and it creates a massive sound.
At lower volumes things are bold, big and zingy, and the Fralin has that way of bringing out the tonal character of a guitar that's redolent of the best post-1950s Fender amps. Flick a Strat or Jazzmaster onto the neck position, add reverb and the surf’s up, or plug in a semi-acoustic and it’s cool jazz time.
Maybe, like me, you've sometimes found that amp spring reverbs are usually either too much or not enough – but rarely just right. With the Fralin the reverb can be set to provide that delicious springy halo without making everything murky or indistinct. Perhaps it's because the dwell time isn't excessive – which is something you quickly learn when you try adding reverb to recorded guitar sounds when you're mixing.
The Bright switch, which seems to operate at a frequency slightly above the centre frequency of the Treble control, is very powerful. Unless you're after a glassy tone it might prove excessive with some Fender-style guitars, but it's dynamite for coaxing twang out of Gretsch Filtertrons or P90s. You can also activate the Bright boost and roll back the Treble knob for a hint of upper midrange scoop. So the Fralin certainly fulfils its design brief for country, surf, spaghetti, clean blues and even funk – but push it harder, and there are surprises in store.
With regular Strat single coils things stay pretty clean up to about 4 or 5 on the Volume control, then the overdrive glides in ever so smoothly. At first you'll only hear a touch of hair if you hit big chords hard, but single notes stay bouncy and snappy. At halfway up the Fralin starts to edge into more obvious overdrive. The low volume clarity is still there but you get a degree of single-note sustain reminiscent of a higher-gain amp.
The gradual progression into overdrive continues until the Volume maxes out at 12. By that point things sound very big, fat, juicy and loud. In fact this is just about the most convincing early Stevie Ray tone that I've ever coaxed out of an amp – no Tube Screamer necessary!
Since 6L6 tubes are designed to run at higher plate voltages than 6V6s, it’s recommended that only modern 6V6s should be used in the Fralin. We took our chances with a pair of Russian-made Tung-Sols and were surprised to discover that breakup doesn’t happen earlier.
The Fralin is actually cleaner at equivalent settings with the 6V6s, but when you push things above 6 you get the same creamy overdrive, just at lower volume. The 6V6s generate a darker, raunchier tone but you lose some of the glassy presence and bite that actually make the Fralin sound so exciting with the 6L6s. Still, the 6V6 option is the perfect solution if you want to crank it at a small pub gig or in the studio.

This amp sets itself apart by its dynamic response and the way it cleans up. By running the Fralin hot I found I was able to access all its great sounds by backing off the guitar volume – although it helps if you have a treble bypass capacitor across the pot. This amp’s old-school tone is eminently suited to a whole range or retro and roots styles, but its inherent clarity also makes it superb in conjunction with effects pedals.