If you’ve read our review of the Quilter SuperBlock US, you know we really like this amp. We found the SuperBlock good sounding and straightforward to use, but at the same time very flexible. This is in part due to the three “voices” available, accessed by Quilter’s Voice toggle switch. Each setting is based on a vintage Fender amp sound.
In our original review, we discussed the ’65 Blackface, and the ’57 Tweed voices. One aspect of the amp that we didn’t discuss is the sound of the ‘61 Voice. In this follow-up we’ll share our impressions of the SuperBlock’s ’61 Blonde voice.
Quilter SuperBlock US Approach
One thing to keep in mind that the SuperBlock US is not a modeling amp, and therefore is not intended to exactly replicate classic Fender amplifiers. Rather, the SuperBlock is Quilter’s interpretation of classic Fender amps. Plus, there are different models of each Fender amp, from various model years, and they all sound different. Nonetheless, the SuperBlock US does a great job of approximating the character of these legendary amplifiers.
My impressions are based on a month of playing and listening to the SuperBlock US, with both single coil and humbucker guitars. I’ve tried to zero in on the character of each voice, because ultimately this is where the versatility of the SuperBlock shows its value. Similarly, my observations are based mostly on clean, and lightly overdriven tones, because as soon as you introduce pedals, you are reviewing the pedal as much as you are the amp.
Blonde Sounds
The Quilter SuperBlock US ’61 voice is based on the the sound of a Fender 1961 “Blonde” amplifier (a.k.a, “Brown”). Because Quilter based the sound on the actual amps—1961 Blonde, 1957 Tweed, and 1965 Blackface—the differences generally hold true for Quilter’s rendition of their sounds. With the actual Fender amplifiers, our feeling is that the Blonde sound tends to get overshadowed by the Tweed and Blackface amps.
Though I have tried to capture my impressions of the general character of each voice, I am aware that there can be overlaps. For example, if one voice is bassier than another, you can turn up the Bass control on another voice. Often, it will not sound exactly the same, which of course is a good thing.
Quilter SuperBlock US ’61 Voice: Our Impressions
My first impression of the ‘61 voice was that it was clean, and slightly recessed in character. It had less obvious identity than the Tweed or Blackface, but perhaps that’s because the characteristic sound of those amps are better known. At first listen I thought it had less bass than the ‘65 voicing, but it turned out to be the opposite. Some say the Blonde sound is halfway between a Tweed and Blackface in the midrange, i.e., less than a Tweed but not as scooped as a Blackface amp.
Comparison with the ‘57 Tweed Voice
The SuperBlock’s Tweed voicing is what you would expect for any amp that purports to replicate a Tweed sound, namely, a prominent midrange. The strong mids are a hallmark of Tweed amps. Overall, the Tweed sound is a darker sound, and the SuperBlock represents this well. You can obviously dial the mids down with the Mid control, but the channel retains its overall sonic character. The highs are slightly muted compared to the ‘61 voice, but again, this is the Tweed sound. For overdriven tones, this ’57 voice reacts most to the Gain control on the Superblock, and it’s easier to dial in edge-of-breakup sounds.
Comparison with the ‘65 Blackface Voice
The ‘61 has a “stringier” sound on the low strings. I attribute this to the ‘61 voicing being clearer overall. The ‘65 sound is arguably a little bit sweeter than the ‘61, though the ‘61 sounds more transparent.
Compared to the ‘65 Blackface voicing, I noticed more mids on the ‘61. This was not surprising, since the Blackface sound is characterized by a scooped midrange sound.
Digging into notes on the 3rd and 4th strings, I noticed that the treble on the ‘61 was a little bit firmer than the Blackface, which was moderately spongier. Turning the treble up on the ‘65 didn’t exactly replicate it, either. I found myself really liking the ‘61 for a clean Tele bridge pickup sound. There was a distinct glassiness that sounded just right for country licks.
Conclusion
One of my favorite things about the Quilter SuperBlock US is the amount of tone shaping available. The Voice setting differences are identifiable, but not dramatic enough to make you feel like you have three distinct amplifiers. Nonetheless, they do have real character. In addition to being enjoyable from a tone perspective, I feel as if I have a better idea of what the real Fender amps actually sound like. Though I had familiarity with the other two voices, the Quilter SuperBlock US ’61 voice helped me get a handle on this lesser known Fender sound.
And The Winner Is…
If I had to pick one voice on the SuperBlock, it would be the ‘65 Blackface voice. I feel that it offers the most versatility. The Tweed Voice would be second, because it’s a classic, well known, and usable sound.
So what’s to like about the ‘61 Voice? Due to its more pronounced treble and openness, the ‘61 sounded particularly good for country licks in the bridge position on the Telecaster. The clarity extended to humbucker guitars, and I gravitated towards the ’61 voice for clean jazz sounds with my hollowbody. In fact, I would say while it may be the least versatile, it’s also the most transparent of the three SuperBlock voices. The good thing about the SuperBlock US is that you don’t have to choose one or the other; just flip the toggle switch and enjoy.
