11/26/2023 0 Comments Fender amp history![]() I often pair them with 12" speaker and tweak the circuit slightly to add a little more warmth and sparkle. All the filter caps are in the same can cap causing a grounding issue. ![]() Adding a three prong grounded cord is a must!ĭ. Adding bias pot is really helpful to getting the best sounds from the amp.Ĭ. Plus it will sound better when cranked up.ī. The amp runs the 6V6s at fairly high voltages and this will extend the tube life and save the output transformer in the event of power tube failure. It has footswitch to turn on and off the reverb and tremolo.Ī. The controls are Volume, Bass, Treble, Reverb, Speed, and Intensity. Again it uses the same bias wiggle trem which sounds great! All except for one Reverb model uses the 5U4GB rectifier tube. The sound clean and clear with a light overdrive as you push the amp. If considered a classic Fender circuit which has spanky cleans, warmth and rich reverb and trem in small package. The Princeton Reverb is prized studio, practice and small stage amp. Blackface and Silverface Princeton (Non Reverb) 1963-1979 For this reason it often necessary to replace Silverface baffles. The later Silverface Amps used a particle board baffle and hardboard type panels. During the Blackface and the early Silverface years Fender used a quality plywood for the back panels and the baffle. One thing to note is that these amps used a variety of Utah and Jensen speakers which really affect the sound. For that reason we'll simply consider them in Reverb and Non-reverb forms. The amps appeared in spring of that year, almost immediately after Fender was formed on the dissolution of its short-lived predecessor, the K&F Manufacturing Corp. The Princeton is one of the few instances where Fender didn't make big changes in the Silverface years so Blackface and Silverface Princetons are very similar model to model. All Fender amps trace their lineage to three woodie models of 1946the original Princeton, Deluxe (also called Model 26) and Professional. They came in two varieties: Reverb and Non-reverb. ![]() All of these amps are brighter and cleaner with less overdrive. Overviewĭuring the Blackface and Silverface years the Princeton retained many of the changes that the Brownface versions did: 15 Watts, a single 10" speaker and bias wiggle tremolo. In part III I will discuss the Blackface and Silver Princeton models. These are the quintessential years for the Fender Princeton that are of the most interest players and collectors. In this series of articles we will cover the Woody Princetons, Tweeds, Brownface, Blackface and Silverface Princetons. For the purposes of our discussion we will only consider the classic Princetons made from 1946 to 1981. Over the years the Princeton has undergone many circuit and cosmetic changes. The amp has also proved surprisingly well suited to heavier rockers over the decades.The Princeton amp has been around almost since Fender's inception and has remained a popular amp in Fender's amp line. King, Mike Bloomfield, Robert Cray, Stevie Ray Vaughan, Derek Trucks and Joanne Shaw Taylor have plied their trade through the bold 4x10 beast. The Super Reverb’s detailed soundstage and dynamic, articulate transition from clean into overdrive when played hard has made it a favorite of many blues guitarists throughout the years. These characteristics not only make the Super Reverb great for twangy country or jangly West Coast guitar styles but also perfect for stinging blues and driving rock when cranked up, or even warm, rich jazz when reined in and EQ’d for a mellower voice. Clear, crisp and articulate, yet with very playable dynamics and an appealing breakup when distortion sets in, the blackface sonic template is defined by a slightly scooped (midrange-recessed) voicing, with firm lows and somewhat glassy, sparkling highs. The entire configuration plays a big part in the archetypal blackface sound. Half of each of the first two preamp tubes provided the first gain stage for each channel, while the second half was used as a gain-makeup stage following that channel’s tone controls.Īnd whereas the Bassman and other big tweed amps (as well as later Marshall and Vox amps) employed a cathode-follower tone stack, which used an entire preamp tube to drive the tone controls, the blackface amps sandwiched their tone controls between two more-traditional gain stages within the circuit, and that EQ stage comes before each channel’s volume control, rather than after it as in the tweed amps. In place of the tweed amps’ 12AY7, the Super Reverb used a 7025 preamp tube (a more robust 12AX7) in the first gain stage of each channel, and it employed these tubes differently as well.
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