With a silver-and-turquoise front panel and classy aluminum “drip edge” grille cloth trim, the Princeton Reverb received a fresh new face as it remained the perfect recording and gigging amp. Small, light and moderately powered, it produced big tube tone, with world-class Fender reverb and vibrato effects. For countless guitarists ever since, the Princeton Reverb has been the go-to amp for classic Fender sound. The ’68 Custom Princeton Reverb Amp pays tribute to the classic look, sound and performance of Fender’s late-’60s “silverface” amps. In a special twist, a modified tone circuit gives modern players greater tonal flexibility with pedals, and the amp’s reduced negative feedback gives greater touch sensitivity and quicker onset of overdrive. Comes equipped with Celestion Speakers Watt speakers for a more modern, punchy sound that breaks up nicely when pushed. It features reduced negative feedback for a more “touch-sensitive” feel, quicker break up and added harmonic richness. The 68 Princeton Reverb has only one channel so it features the “bassman” tone circuit.
BF/SF Deluxe Reverb
Much of this is due to an unefficient phase inverter circuit design. In build quality and component selection brands of caps, resistors, pots the silverfaces are not as robust as the blackface models. The glued and stapled baffles on the silverface amps is to us one of the bigger differences between the blackface and silverface amps, or should we say, the cabinets.
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The combination of size, weight and performance makes the Deluxe Reverb a true road warrior on gigs and practise. Since the year we have observed, by monitoring the amp market on US ebay, that low wattage amps have increased dramatically in popularity. We find it irrational. The PA was invented long time before that and guitar tones containing fuzz and distortion have been around since the sixties-seventies. Why has the desire for low wattage amps with watts of tube power come up so late?
Many people consider the silverface amps just as sonically good as the blackface models. Being almost a blackface amp with a new faceplate wrong for collectors , the silverface models became popular value-for-the-money amps. The circuit was then significantly different from the blackface circuit. You will be able to shape your tone significantly with just the right speaker s and tubes. We usually start with explaining a mod from a functional perspective where we relate to components in the logical schematics diagram.
Fender Pro-Reverb Service Manual
The Princeton haas remained a popular amp in Fender’s line. Over the years the Princeton has undergone many circuit and cosmetic changes. For the purposes of our discussion we will only consider the classic Princetons made from to These are the quintisetial years for the Fender Princeton that most interest players and collectors. I will briefly discuss the Princeton models, circuits, sounds and basic modifications.
Part I will concentrate on the Woody and Tweed years from to
Over the years the Princeton has undergone many circuit and cosmetic changes. For the purposes of our discussion we will only consider the classic Princetons made from to This covers the Woody Princetons, Tweeds, Brownface, Blackface and Silverface Princetons.
Originally Posted by Jonboy79 Well after an extensive inspection it appears the amp is completely original minus the power tubes. It’s in nearly mint condition and is the most beautiful sounding clean amp I’ve ever recorded. I love being able to say that a vintage Fender amp is in my lineup. Thank you everyone for your information and if anyone else has anything to add please do so. For what it’s worth, you can get a reproduction “Blackface” face plate which will woo your clients.
I’m not really into that sort of thing but my 68 had one on there when I bought it and I haven’t bothered to put the original silver one back on since it is, for all intents and purposes a blackface. Of all the tubes I’ve auditioned in those amps, RCA’s and Tung Sol’s vintage, not re-issue are easily the best sounding in the preamp and power positions.
1969 Fender Princeton Reverb -Amp
The Blackface and Silverface Princeton Amps The Princeton amp has been around almost since Fender’s inception and has remained a popular amp in Fender’s amp line. Over the years the Princeton has undergone many circuit and cosmetic changes. For the purposes of our discussion we will only consider the classic Princetons made from to These are the quintessential years for the Fender Princeton that are of the most interest players and collectors.
Jan 03, · date code stamp on the tube chart to verify the date. But I did just [The Amp Guide] Re: couple of questions on my silverface Bandmaster Reverb > > definitely wouldn’t work with this cab then, as the countersunk 65 Princeton Reverb, or 66 Pro Reverb.
This is the real deal, not a reissue. Has become one of the most sought after Fender Blackface amps. Small, compact and great sounding. The Fender Princeton Reverb combo is essentially a Fender Princeton with built-in reverb and vibrato. The vintage ones prices have gone through the roof. The frame was removed in , and a slight change in circuitry. In and the Silverface version was cosmetically changed back to the Blackface.
It was discontinued in The Fender Princeton Reverb reissues starting in are now available, but are quite different in the way the cabinets and circuit is made. The reissues are not point-to-point wiring and use a circuit board. This is cheaper to manufacture, but many feel it changes the sound. Due to the way the the tube sockets and circuit board that are built they are also harder to repair. The cabinets are no longer the same and some users say they tend to rattle. Some people have changed the speaker baffle to resolve this.
Fractal Audio AMP models: Super Verb (’64 Fender blackface Super Reverb, AB763)
Originally Posted by drbob1 “Punk” probably doesn’t tell us all we need to know. A hard hitting drummer can bury a Deluxe at least push it far enough into it’s distortion area that you don’t have any dynamics left to play with. And a Princeton has even less stones, so that’s out. I’ve found that all vintage Fenders take pedals well, so distortion isn’t a problem, the question is how much volume do you need for the basic clean tone and do you need reverb or tremelo or both?
Amps that would work with a loud drummer:
$ for a silverface super reverb is a lot of money. You’re talking blackface money for that amp. Even a super reverb wouldn’t come close to $, $ at the most.
A great retro combo at a reasonable price. Pros Great tone, great looks and the Fender badge. Cons The reverb could do with being a touch warmer. Everyone has their own favourite version of this wonderful small amplifier, and at the risk of offending some of the tweed fanatics out there, we reckon that with this reissue of the reverb-equipped variant Fender has probably picked the one that’s garnered the most praise over the years.
It combines the classic good looks of the pre-CBS ‘blackface’ with the mis-named Vibrato effect and that great spring reverb. Originally intended as a smaller, more portable combo for practice and beginners, the Princeton Reverb quickly found its true calling in the hands of studio players and, along with the tweed Deluxe, is probably one of the most recorded amps of all time. Like the original, this re-issue has a smart, perfectly proportioned cabinet covered in thick black Tolex, combined with a silver sparkle grille cloth and black control panel with six skirted control knobs for volume, treble, bass, vibrato speed and intensity and depth for the reverb effect.
Construction Also just like the original, this reissue sports a small but solid steel chassis, to which all the valve bases are directly bolted for strength, reliability and easy changeovers. Inside the chassis, the electronics are all PCB mounted on single-sided boards which are not through-plated – there are two small boards for the input jacks and rotary controls and one large one for everything else, with connections to the valve bases made by short flying leads. This is quite a bit different from the originals, which used eyelet board construction, where components are soldered into small brass rivets which are in turn strategically hammered into a vulcanised fibre baseboard.
This traditional way of building the Fender amplifier survived up until the mid-eighties when the Fullerton production line closed, and is now restricted to Custom Series models like the Tweed Deluxe.
Fender Princeton Reverb: Wikis
The source-date code on a pot is a 6 or 7 digit code impressed into the casing of the potentiometer. For speakers this code can be 5, 6, 7 or 8 digits long, and it’s ink-stamped or paint-stamped on the “bell housing” of the speaker. In either case, the code works the same. The first 3 digits on a pot, or the first 2, 3 or 4 digits on a speaker are the source or manufacturer code.
A Princeton Reverb has 3 transformers – power, output, and reverb driver. Original transformers should have date codes in the 64/65 – 67 range, and the part numbers should be P1B or (Power), A10B or (Output), and A20B or (reverb driver).
The progress of this type of work is slow, hence the long hiatus, however, a lot of new data have been collected regarding Fender amplifiers, including production numbers. Advances have been made with regards to the production of tolex amps and it appears that much of this information can be applied to late s tweed amps as well.
In addition, the dating-by-serial number tables have been revised and are more accurate. The bad news is that there is still a lot of work that needs to be done on the silverface amps. Unfortunately, there is some sad news to report as well. Fellow Fender amp researcher, Greg Huntington, passed away June 5, after losing his battle with cancer. Greg kept his illness very private, even from this author. His passing is a great loss to this research team and the Fender amp aficionado community in general.
I’ve done a bit of research it seems only difference is an extra tube for the vibrato ? Any knowledge would be awesome. I need a good vintage bedroom amp 2 Jay Fillion 3 years ago Also what should I pay for each of these? The vibrochamp modulates the preamp tube rather than output.
– ‘RAT’ Handwired 65 Princeton Reverb Reissue (PRRI) – All Reissue Amps – 65 Blackface, Silverface and Tweed Brownface Without a doubt – One of the best Guitar Amps ever made was the Original Fender Princeton Reverb.
You just gotta have that amp or that guitar. Even if you already own plenty. Man will never stop coming up with ideas and rationale for why he constantly needs to aquire more gear. Man convinces himself, the wife and all who stands in between the gear and himself — the only responsible thing to do now, is to go get that gear. Man needs, man deserves.
So, why constantly seeking for changes? But if your amp is a mint vintage peace of gear with high collector value, be careful and think through what you do. You may get asked — why mod a classical tube amp to be some other wanna-be amp? Why not just get another original amp with the characteristics you desire? Because, most likely, one amp already exists that is closer to what you want.
Man wants to confirm to himself he can alter the tone of classic tube amps. If an amp is low-wattage and breaks up comfortable at low volume, then man will mod to increase headroom.
Help dating a Silverface Princeton
The finishes were baked in the Kauffman family oven. They were made in three different sizes, 1×8″ one 8″ speaker , 1×10″, and 1×15″. They are all very rare today and few have survived. The first amplifiers made in-house by Fender is the Woodie series, built in through
Your “new” ‘65 DELUXE REVERB amplifier is living proof of the quality and longevity of Fender amplifier designs. Of all the Fender amplifiers produced over the past 40 years, the Deluxe Reverb has probably been Fender 65 Deluxe Reverb Manual Created Date.
Its versatile platform is just as comfortable at home, in the studio or at a gig. This amp is powered by a pair of 12ax7 preamp tubes driving two 6v6 power tubes making about 12 watts of power. Unlike the reissue, the original Princeton Reverb is all hand wired using an eyelet board to keep everything clean. The resulting amplifier boasts big cleans, smooth overdriven tones, classic Fender reverb and some of the finest tremolo around.
This particular Princeton Reverb was completed in November of and features late and early part date codes. It has suffered no damage, repairs or heavy playing time. The outer Tolex is nice and without rips or tears. The original eyelet board is clean and the solder is untouched.