Hands-On Review:Fender Champ XD Amps


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Knockout sounds from a couple of proven winners

By Dan Day
Musician’s Friend Staff Writer

 

The time: the mid-’70s. The place: somewhere in the Midwest. A rock  band is practicing in the lead guitarist’s parent’s basement. Squeezed  in among the washer, dryer, and boxes containing Christmas decorations  is the full complement of rock gear—drums, bass, PA, and two guitarists  sporting Les Pauls with 100-watt Marshall stacks. The band is practicing  at full volume. These are the days before master volume controls and  power attenuators are widely available for guitar amps. The band insists  on feeling the noise from its Montrose, Kiss, Aerosmith, and David  Bowie cover tunes. The singer strains to be heard. After lots of ringing  ears and ringing phones from the neighbors, it finally makes sense to  use practice amps—small amps that, cranked up, get great overdrive tube  distortion that reasonably approximates the full-out Marshall roar.

 

The practice amps of choice are Fender Champ. With the Fender name  the band knows they’ll be well-made and reliable, due in part to the  simple circuitry: 8" speaker, six watts, one input, and three knobs:  volume, treble, and bass. The Champ is the lowest-priced Fender amp and  it sounds great. Because the band is a bunch of hard-rockin’ guys, they  don’t need the tremolo feature built into the Vibro Champ.

 

Fast-forward to 1982. Fender replaces the Champ and Vibro Champ with  the Super Champ, beefed up with a 10" speaker, pumping out 18 watts of  sound. In 1986, the Super Champ and Super Champ Deluxe are retired.

Return of the Champs

 

Now Fender has reintroduced two Champs: the Vibro Champ XD and Super Champ XD.  Both are part of Fender’s Vintage-Modified Amplifier series that takes  timeless favorites and adds some new capabilities such as preamp voicing  and special effects. The Vibro Champ XD is a single-ended five-watt tube amp with an 8" speaker. It has one  12AX7 tube in the preamp and a single 6V6 for the power amp.

 

The hybrid Vintage-Modified design does not require the preamp tube  to create high-gain distortion; instead any one of 16 preamp voices can  be selected. The preamp voices are modeled on a wide variety of classic  amps to provide clean, overdriven, and distortion tones: from warm-toned  Fender Tweed amps and brighter Blackface tones through British amp  voicings to the scooped mids and distortion of high-gain metal amps.  Also included are Fender Hot Rod, boutique, jazz, and acoustic voices.  The Super Champ XD uses two 6V6 tubes for more power—15 watts through a 10" speaker—and it  has two channels. Channel 1 has no master volume and gain controls; the  single volume control can be cranked to overdrive the power tubes to  get the Fender Blackface amp tone. Channel 2 in the Super Champ also  offers the same 16 preamp voices as the Vibro Champ.

 

Both XD Champs have 16 built-in effects that can be mixed and matched  for a wide variety of sounds. These include two speeds of rotary  speaker that Fender calls Vibratone (used by Stevie Ray Vaughan on “Cold  Shot”); three Delay speeds starting with slapback; four Reverb  settings: large room, concert hall, classic Fender spring reverb, and  reverb plus delay; four Chorus settings; and three Tremolo speeds.

 

Chicago-Nashville-L.A.-Austin-Atlanta

 

I ran a variety of guitars through the Super Champ XD, taking a musical journey to see just how versatile it is—especially the preamp voices available when using Channel 2.

 

The three Tweed preamp voices (clean, overdrive, and distortion) are  based on vintage Tweed Champ and Deluxe amps from the ’50s prized by  many of today’s players. The classic combo of Strat and Tweed placed me  squarely on Rush Street in South Chicago. I could hear myself backing a  harp player/blues combo with a box riff and stepping out for some  biting, vintage Buddy Guy-style leadwork in the overdrive setting. To  keep the sound from getting too brittle, I backed off the treble just a  bit, and in the distortion setting (#3) also backed off the bass a bit.

 

The first Blackface setting provided lots of clean, bright headroom.  Using my Strat, I got a clear, crisp tone that’s ideal for Nashville  country pickin’ and sparkling rhythm parts with some tremolo added for  Leroy Van Dyke’s “Walk On By.” Dialing in some authentic-sounding Fender  reverb, I got a totally glassy, tubular surf sound with my Strat as I  picked out “Surf Rider,” “Misirlou,” and “Pipeline.” The clean,  articulate tone did not hide any of my picking mistakes so I guess  that’s why I slathered on lots of reverb. I used the Ricky sound on my  modeling guitar with the first British combo preamp voice to get the  bright, jangly, chimey sound used by British Invasion groups of the ’60s  and American groups in the late ’70s and early ’80s.

 

The Strat on British amp setting #2 took me straight to Austin for  the warm tube distortion that made me want to put on a vest, boots, and  wide-brimmed hat to play lots of dunta-duntas and boogaloos, as Stevie  Ray Vaughan called them. For most of my guitar work, Tweed is just a  little too bottom heavy, Blackface is a little too bright, but the  classic Brit setting is the Goldilocks of tone—it’s just right. Your  mileage may vary. I recommend the treble and bass controls on the amp be  adjusted according to the guitar and preamp voice used. For example, I  rolled off the treble a bit to reduce the brittle harshness I got when  using a single-coil guitar into Blackface. Conversely, when using my Les  Paul and the distorted Tweed voice, I rolled off the bass. Actually,  this is a good thing; I would rather have an amp that gives me more  sound to work with than less.

 

Finally, I used my Les Paul with the high-gain distorted tone based  on a modern British stack to try and play along with Atlanta’s very own  Mastodon and “Colony of Birchmen.” It’s tuned down a full step to D for a  deep bass-heavy thrumming that can really challenge an amp’s low-end  response. To handle the clean Bbmaj7 and Dm arpeggios of the bridge  (“Gone away, my heart’s gone away”), I used the optional footswitch to  switch from the distorted sound of Channel 2 to the clean sound on  Channel 1.

 

Summary

 

Both Champ XD amps offer excellent value for a musician with a  limited gear budget. The impressive array of sounds from the 16 preamp  voices and 16 special effects work well with blues, country, rock, jazz,  metal, even acoustic emo song stylings. The Vibro Champ makes an  excellent practice and recording amp; the Super Champ also works well  for small clubs.

 

Features & Specs


Vibro Champ XD

  • 5W Class A tube amp
  • 1 12AX7 preamp tube and 1 6V6 power tube
  • 1 8" Fender Special Design speaker (4 ohm)
  • Voicing knob with 16 preamp voices
  • 16 effects with F/X Level control
  • Power output: 5W RMS into 4 ohms
  • Dimensions: 17"W x 14"H x 8-3/5"D
  • Weight: 23 lbs.

Super Champ XD

  • 15W Class AB tube amp
  • 1 12AX7 preamp tube and 2 6V6 power tubes
  • 2 channels with channel-switching format (optional footswitch available)
  • 1 10" Fender Special Design speaker (8 ohm)
  • Voicing knob with 16 preamp voices
  • 16 effects with F/X Level control
  • External speaker jack
  • Line output jack
  • Dimensions: 17-1/2"W x 15"H x 9"D
  • Weight: 24 lbs.