In this video from Fender, Jack White discusses his signature model amp. He says:

I had an amazing time with Fender designing this. We worked on this for four or five years and this was sort of like me shooting for the moon of what the ultimate Fender amplifier could be or just what the ultimate amplifier could be. They allowed me to design a lot of elements and work together with Fender to try and make something really beautiful and unique that Fender has never done before. Stan Cotey put together the first prototype amp of this and we went from there.

I’ll take you to the amp section first. Somewhere in there you got a Fender Vibroverb 1964 is in the heart of this amplifier. That’s my favorite Fender amp and I’ve used it for years but I was thinking you know what are these things that could make it sort of into this dream Fender amp. And one thing was having a drive boost knob. I like drive and preamping but I really like distrotion in amplifiers too much. A lot of modern amps have sort of these distortion knobs. Well this gives you an amazing boost without getting too distorted.

I of course always missed the middle knob in certain Fender amps that I love. They only had treble and bass. It was a bummer for me because I love to cut the mids a little bit in my signal and I think a lot of people obviously love to have the three chouices.

So we have a 15-inch speaker here and a 10-inch speaker here. Two different sized speakers. Not exactly something you’ve ever seen in a Fender amp before, and definitely not in those sizes. The sound of that is outstanding because double micing this you get the deep bassier crunch on the 15, you get the brighter glassier tones in the 10 inch and when you stereo mic these and pan them your stereo image is just outstanding, even before you talk about reverb and tremolo on this amp, which I’ll get to.

The reverb section. You’re going to see me very happy as I talk about this. This is just the dream reverb scenario for a Fender amp in my opinion, or for any amplifier. There was a Fender amp in the early 90s called the Vibro King and I thought that was really cool because what they did was they took a Fender reverb unit like the standard surf box reverb unit, and they put it in a combination amp with a dwell knob, a mix knob, and a tone knob. The difference between our version of that compared to the Vibro King is that in the Vibro King came before the preamp section, this reverb section comes after the preamp section and it’s just beautiful how much energy it has. The decay goes on forever and it’s just so beautiful and long and deep.

And what we’ve done here is instead of having a tone knob we have a treble and bass knob, so you can control just the treble and bass of the reverb signal. Now you’ve never seen that on a Fender amp before, no doubt about that. So if you like a really bassy reverb, you can turn the bass up and the treble down. If you like a really surfy twangy reverb, you turn the treble up on the reverb section. How cool is that? And that really comes in handy live and in the studio.

The switch here on the end is also going to blow your mind. It’s split and full. Full has the reverb coming through both these speakers and split has it coming only through the 10-inch speaker. So, if you have two microphones on a twin reverb say, you’re probably not getting much of a different sound unless there’s a flaw in one of the speakers. If you have two microphones on this Pano Verb, you’re gonna get two different speaker sounds, two different speaker sizes so they both have different characteristics and the ability only to put reverb in the 10-inch side. And the decay on this reverb is just outstanding. It goes on for days and it’s just so beautiful and rolling. I just love it.

Alright we’re going to go to the tremolo section now. This is the first harmonic tremolo that Fender has done in an amplifier since the early ’60s. I had this harmonic tremolo in my ’61 Vibrasonic and I really love the sound of it. Almost like it’s opening up like high and low pass filters rather than just amplitude modulation of volume going up and down. So we wanted to get that sound in here, you know. And you have two modes here; you have a mono and stereo mode. So there’s two amp sections in here that drive this stereo mode. In the mono mode, you’re kind of more like the regular Fender tremolo amplitude modulation, two speakers going up and down in volume but it’s still harmonic tremolo. In stereo mode you have a little bit of delay seperation between these two so you’ve got this stereo image that has this swampy wah-wah-wah going back and forth with left and right. The intensity all the way up and the speed down in this stereo mode you can hear the the movement.

I'd like to take you through some of the small aesthetic details of this amp. One that I'm very proud of is how many times has any Fender player spent a minute looking for the power switch and standby switches? Well, you know exactly where they are in this amp. You have this lightning bolt indicator to show you right where the power switch is. You're welcome. We have this great yellow, white, and black artwork here. Fender's never done this color on an amplifier before. This is a cool little co-brand here with Third Man Hardware. The knobs are pretty interesting. These were like Fender prototype metal knobs in the early 60s. I guess they just used them for a little while and they didn't catch on, but I had it on an old Vibrasonic and I thought it would be nice to bring that back. What's even interesting too here, each section the first knob clicks on and off, so if let's say you you have your reverb turned to zero on a on a Twin Reverb and you assume it's off, you know. This is not the case with this. The first knob in each section clicks off and has a zero spot so you definitely know. In the studio you don't even want to worry about it. You've clicked it off. It's set in stone. So the intensity on the tremolo is turned off, the mix of the Reverb is turned off the drive is turned off.

The input here is only one. The input just has a number three instead of a one or a two. This just a little Third Man Hardware flare to it. The foot switch also unique and you've never seen it before, a yellow foot switch on a Fender amp but that's just a kind of cool aesthetic part, but what I really am proud of is for years I've always wanted to put my switch for the amp up by my pedalboard but the wire always came out of the middle. Well we got this one to come out the side so now you can wrap that cord around and have it right next to your pedal board without it being funky and feeling backwards. That's a tiny Innovation I think is really really cool and I hope Fender keeps that for other amplifiers.

This amp comes with a yellow and black canvas cover instead of naugahyde. I'm an upholsterer by trade you know and I love the feel of certain fabrics and I wanted to have something a little bit different. A yellow jewel light here to make this a little bit special coming the factory standard. Air conditioning and pizza oven also factory standard. Yellow Fender amp logo, which is very cool and to go with the whole collection here the guitar cases also have this exact same yellow logo on them, which I think is a cool little marriage of these products that we collabed together.