This is from Larry Carlton’s cousin Steve when I asked him about Larry’s set up for Kid Charlemagne “Yes it was a 1972 Princeton Reverb amp, modified by Paul Rivera when he worked at Valley Arts Guitar. It was a "stage 1" mod, which only increased signal to noise. And of course, Larry played his 1969 ES-335 with Ernie Ball Super Slinky's.” He should know. He was there.
Well who is right then? Larry's cousin or Larry himself? Larry himself claim, that it was a Tweed Deluxe on ALL Steely Dan cuts including the night fly record. Larry only brought the tweed amp for those dates, but would normally use either his Rivera amp or an old Marshall with Dynacomp in front of i on normal dates.
Search for Jay Graydon and Rivera on youtube, and you'll find all the information on the mod Paul did to Fender amps. But again it is not a Princeton Larry played, but a Fender Tweed amp on The Royal Scam record.
Wanted to let you know, that your soothing style of these talks helped me through very dark times, and I didn't commit suicide last year. So thanks for the help.
I've known for almost as long as I've owned it that the Stratocaster I bought at a flea market years ago was made in April 1965. Only a couple of years ago, however, did I discover that my old Princeton Reverb was also made in April of 1965. It's kind of cool to think they could have been on the loading dock at the same time.
Match made in Heaven there....I have a 65 Strat as well but my Princeton is a 61 The 65's are the best...I had a 58 too so I know a little about Strats
Is this an alternative universe - or a textbook case of cross-pollination? I'm a BIG fan of your videos, Rick - I watch them compulsively. Thanks for sharing your vast knowledge, great insights, and tasty production - not to mention impressive chops. Long may you run!
Great video Kevin! I don’t own a Princeton, but my Princeton story goes like this. I’m a child of 80’s guitar, especially EVH, use a Charvel Guthrie Govan and an Axe FX II for all my gigs. The bartender at Reggie’s in Chicago goes “Johnny, you don’t need all this, all you need is a Tele and a Princeton.” I worked at CME at the time so being a wise guy, I borrowed a vintage Princeton and Tele from the shop. I showed up to the following week’s gig with that and a Butler overdrive. He was right.
@@shaft9000I wish I had video from that night. With my Axe Fx, I can get a pretty close VH I tone with the obligatory Phase 90. But I think that’s the point. Without all that, what can you make it sound like? With your hands and a little overdrive, it’s more possible than you’d realize.
I am catching up on FWW vids. How cool this is. It's like memory lane. Had a nice '67 Princeton at one time. "Had" being the operative word. My uncle "fixed" it for me once. Shocked the hell out of me whenever I touched my strings. Thanks uncle Dave. Dork. I got a cool permed mullet out of it though.
I bought the 65 Princeton Reverb special Sweetwater edition in brown tweed and it is coming today. It has the 12" Cannibis Rex speaker. I really appreciate your work here at five watt world!
Another great video. You guys are the best with these shirt history videos. Outstanding. Really makes me appreciate how lucky we are to have such fantastic tools to write the soundtrack for our lives. Awesome.
They were built in Princeton cabs on Princeton chassis but no stock anything was used beyond that. The Boogie only works because Randy had enough RF experience to tweak it and so it's very tough to build a Boogie clone. After you've built and debugged a few tube transmitters it's worth a try, but remember the schematics have deliberate errors so you'll need an actual amp to copy off. Dumble is really not a trained electronics guy in any sense so he had to build something he could make work and consequently it's easier to build a Dumble clone than a Mesa clone. Life is funny that way.
Gigged my Princeton in rock bands for years when I got too lazy to haul bigger amps. It's great, just loud enough to be heard over a loud rock drummer. But at that volume you have no clean headroom. Still made it work, legendary amp
I just purchased a Princeton 65 reissue and I love it. I got it after seeing Marty Stewart and Kenny Vaughn both playing Telecasters through Princeton's and sounded Amazing!
Mike Campbell mikes his little amps and sends them through the PA and the monitors, so he's relying on them for tone, not stage volume, which would be ridiculously inadequate. That said, a friend of mine has relied on a silverface PR modded with a very efficient 12" EV speaker, and that sucker is indeed loud. That high efficiency 12" speaker goes a long way.
Of course, but I understand from interviews that Mike also has used a PR as his stage monitor, use to have one in front of him sending the guitar tone back. And totally agree on the 12" mod for gigging. You can buy a lot of virtual headroom by using a more efficient 12 and not needing to turn up as much.
Great breakdown ! I loved how you ended with Campilongo. I recall an interview with Joe B from a few years ago, hotel room, BF Princeton dimed with a vintage Les Paul with the guitar vols turned down. Screamed!!
I am glad I discovered this channel. I am mainly a bedroom type player that occasionally records a song, so I don't need a huge amp, and this channel is perfect.
Best slide sound I ever heard live was a local guy using 2 Fender Rivera Super Champs which would kinda be a Princeton Reverb Jr on steroids but I been thinkin' of down sizing yet again to something like a PR. My Mesa Maverick is great but 30 watts is killin' the cat....
Missed this one. Glad I found it. Great content. It helped me see how your production has become more polished over time. I've been enjoying a Stapleton signature for about a year now. I typically use a Yamaha THR10 so I can keep the volume down but when the house is empty, this really scratches the itch.
I tend to agree becauseI learned the hard way about music and sound. My first amp was a Vibro Champ that really went unappreciated until recently. I slowly clawed my way up to a Twin Reverb, and I could put out some loud music. All the while an old friend was using a Princeton Reverb. When we got together again he asked where my Vibro Champ was, and I told him in cobwebs in the closet, and I set up my Twin Reverb. Pete set up his old Princeton Reverb, that he had back in the early days, and my jaw dropped; he was light years ahead of me on the sound issues. I had always equated louder with better, but Pete was still playing through that old beaten up amplifier and getting a great sound. I was shamed into digging out the old Vibro Champ. Not by my friend or anything he played, but by my own personal awakening and my former blind, or possibly deaf, ambition regarding the generation of music and sound. This is why I agree with your statement, "15 watts is the new 50 watts." I didn't need to be louder. I needed better technic with the guitar. To bad I didn't learn this when I was younger, it may have spared a few decibels of hearing along the way.
I agree. I've had Twin Reverbs and a Princeton Reverb. The Princeton sounded better and it was easier to carry. The Twin sounded like a jet plane idling before take off.
Spring reverbs were the best - you could jam things into them like glass pill bottles for a ringing sound, or put dampers into them, like tissue paper. I used to tap the back of my spring case with a drum stick to get psychedelic reverb. Syd Barrett would have been proud of me.
I really enjoyed this one too Keith, thanks! I just started looking into the differences between the reverb and non-reverb versions. This was really helpful. My friends I (band mates) in college would always joke around that 1982 was the height of rock and roll. There were some really amazing records that debuted that year :-) You had a great little first rig that's for sure.
I used a 82 Princeton Reverb II from 83-2015. Fantastic amps and never a problem. I switched to Orange and like those a little better Super Champs are great too.
I've been a longtime Fender black face amp lover, but I recently just came by an all original, 1962 brown face 6G2 Princeton. It's an entirely different beast, but it rivals my Princeton Reverb cline and '67 BF Super Reverb completely. Great vid man!
a great video Keith, I own a vintage 1968 SF Princeton Reverb with a hemp cone 10 inch in her, an amazing amp, even on large stages as you say... it's my goto for most gigs I play. I also own an early 70's SF Vibro-Champ.... another grand winner from Fender, again with a hemp cone 8 inch in her as well.
I own a '68 PR, '74 DR, '73 VR, '71 Pro Reverb, and '75 Twin Reverb. I love them all. However, for raw tone and recording the Princeton Reverb is just the best, IMO. However, I've struggled like crazy trying to use it on stage with a full band. There's more to it than just volume. I HAVE to have some amount of clean headroom to enjoy myself and play like I want to play. A couple PRs - a la Mike Campbell - lend much better to big, jangly chording and soloing, and of course he's going to have the benefit of world-class stage monitoring. But in clubs with tight stages, drum kits crammed up next to the guitar amp, with the bass rig on the other side - I just haven't been able to make the PR work. That's why it's so great to have the larger Fender amps.
Nice, quick history rundown. Thanks. I have a Princeton NR with both transformers and serial dated to 46th week of 1980, so they were still cranking them out then. Bought it for $100 bucks from a dude at my local bar. Needed a speaker and the two power tubes. Super clean sound and "the" platform for pedals. Plenty loud for my music room. Love it and will never part from it.
I have two 66 Princeton Reverbs, one with original speaker that sounds great, 2nd waiting a new Eminence Alessandro speaker I just ordered today. Both going to an amp guy in AZ - Lowell Hunt next week for analysis and tune up! Guess I'll just have to survive on my perfect 1960 Tweed Deluxe until I get these amps back. Life's hard! P.S. Didn't know until today that Kid Charlemagne was recorded on a Princeton. I know Larry used a 1959 Tweed Deluxe to record Don't take me Alive.
Started out 40-something years ago with a Silverface Deluxe Reverb. Most watts I ever wrangled regularly was a combination of a Marshall SLX 50 watter and a Mesa Boogie Simul-395 power amp, tri-amping wet & dry. That was in the 90's, and it was a lot of loud fun. These days I play a modded Bassman 20 (thanks Dan T. at AMAudiocircuits), which carries Princeton output-iron btw. Completion Backwards Principle in action lol. Great video, thanks for sharing...
Hey man if you're reading these, I absolutely love the Short History videos you do. It's so hard to find concise histories on all these iconic instruments in one place and you do such a great job putting it all together and keeping it fast and interesting. Thank you!
Thanks John! Yeah, I read all the comments. I’ve been moving but am releasing the next video tomorrow morning. Thanks for taking the time to comment and thanks for watching the videos. Keith
I miss my Silverface 70's Princeton Reverb. Had to sell it to pay tuition for college in 78. Was plenty loud enough for my level of play at home. Miss my strat as well. Should have never sold that black strat, but money was tight. Had it set up by Stars guitars in San Francisco back in the day. By the way, with regards to your # of guitars, I view them as works of art, not just a tool. I am a woodworker, so maybe that influences my view.
You forgot to mention the many thousands of dollars worth of reinforcement apparatus in line after mic’ing Mike’s amps. Which is what makes stadium gigs with a Princeton possible.
Yes. But more like hundreds of thousands of dollars (US)! The mixing consoles alone can exceed 100G's! But true; with the audio systems of the past couple of decades you could do fine being heard using a pignose practice amp. *(I said, "heard". I didn't say anything about sounding good.) :-) Even in club gigs, a little Gibson GA5 w/8" speaker can be mic-ed up and added to the house mix and monitors. It actually blends better that way too. BUT - there's a natural symbiosis, a circular partnership that happens when the amp is directly feeding back (not feedback) into the chest and heart of the guitarist that just doesn't translate as well through the monitors - definitely not through the in-ears. We need a bit more 'umph' to get that going just right.
The first band that I was in back in '67, the guitarist played through a little Princeton. I couldn't believe it. My bass amp was a 15" monster about the size of a half stack. Hey, but he made it work.
Excellent presentation! I had a 1965 Princeton Reverb and liked it very much, yet sold it, much to my later regret. I'm glad Princeton Reverbs still are being produced and are available.
Good stuff. The non-reverb black/silver Princeton is IMO a friendlier home amp, as you can run it clean at ~4 on the volume for a full sound without annoying anyone. For gigging I might opt for the reverb version for the extra breakup/volume ratio (and the ‘verb too!). Depending on the venue and style of music, of course.
I'm right there with you. I use a Vox AC10 for the reverb in my 12 watt wet/dry rig with a Gibson GA40 clone in a Princeton cab (video to come). The GA40 can do late tweed to Marshall tones and the Vox, well we know what the Voxes do so well. :)
As long as your amp is louder than a vocalist, it's loud enough. If you have to stick a mic in front of a vocalist so his or her voice can be heard, then you can also stick a mic in front of an amp, and run both mics through the PA.
@@shaft9000 Why would anyone be gigging outside without a PA? Granted, the Ventures, the Shadows, or some other all instrumental bands might not need a PA since they have no vocalist. But in a really big venue, even the drums need to be mic'd through a PA system. From the perspective of a guitarist, I'm only really concerned with how high the quality of my sound is. The sound engineers are the ones responsible for making sure the audience can hear everything. From an audience member perspective, generally the sound of really loud big amps gets pretty muddy far back from the stage if all the sound isn't run through a well-controlled sound system. Bottom line, going through a well-managed and setup PA system in ANY venue results in better sound. I've walked out of far too many shows where the ego driven lead guitar player was using his Marshall stack to drown out everyone else in the band. Frankly, that sounds like shit.
Just fyi, in some countried, even in the western world, PA systems are extremely expensive and not often bought for a small stage. For example, here in Spain, I have been many places with no PA system or old systems that cant be used for more than keys and vocals. Big amps are still useful, in certain places and at certain times.
@@Whydoyoureadme Please note that I said "IF you have to stick a mic in front of a vocalist so his or her voice can be heard, THEN you can also stick a mic in front of an amp". It's a classic "if-then" statement. If you don't have a PA, then of course you can't mic the small guitar amp. But, you also can't mic the vocalist, so you're stuck playing instrumentals, right?
Just found your channel and have watched almost all the videos. Great content and really well done. I love the minimalist theme and playing more. Spot on for me. Thanks and look forward to more.
I literally started weeping seeing that last Tom Petty clip. Back in the day I was sure he would outlast The Rolling Stones. I think we need a national Tom Petty Day. Who's with me???
Oh yeah! Tom Petty was a one-hundred-percent-real-deal rocker with a badass band like everyone wants to be when they start out. And what a songwriter. If you had to explain Rock 'n' Roll to aliens, you could just show them the video of a Tom Petty concert.
I have Princeton Reverb Reissue. Great little amp that I gig with exclusively. Looking to find a silverface I can afford. Thanks for another awesome video!
@@fivewattworld sadly I'm left with a boss br800to use as a preamp and run it through a sony mini hifi. I know I know...... My old timer had to go for cash (900€) for the sake of my son. Tried a hotrod deluxe once, but that thing was WAAAYYY too loud. Hopefully I'll be looking for another vintage fender anytime soon. Maybe for the holly grail, a deluxe reverb, that would be nice
The new 12” speaker version of the Princeton Reverb fixes the only issue that kept it from being a perfect amp for me. I love the Blackface PR but I’ve never been a 10” speaker guy. I’ve been really tempted by the new reissue , I still am honestly and it wouldn’t be a surprise if one didn’t follow me home sometime lol
Yes and why they have an ext spk out..... sometimes when recording you want that ten but I prefer 12'as well...I just hooked mine up to a 4/12 Marshall alnico loaded and WoW Gonna try the mid 80's Anniversary half stack next Ceramic 65's Really would like to try 4/10's too
My first amp was a Fender Princeton Reverb bought for me by my dad about 1969 or 1970. If memory serves it was a blackface (of course, memory doesn't alway serve...) but it's my main "wish I still had it".
Been giving a lot of thought to getting one of these amps, since trying one out a few weeks ago. I have been wanting a new amp for a while and have been doing lots of research. I enjoyed this video.
Absolutely the greatest CZcams review of guitar gear. A Silver-face Princeton also my first guitar amp, but like All The Young Dudes, I soon enough wanted something louder, even if running an original EH Big Muff into it, my only communication with my parents at 15 had already become, a constant "Turn that damn guitar down!" Loved the Mike Campbell story, the most under-recognized all-time great guitarist ever, new info to me, and you ended this Princeton history and video so nicely with The Heartbreakers clip. Tom Petty, R.I.P., so loved and dearly missed by many.
I have had a now mostly retired 68 Princeton Reverb, for over 40 years. (I paid the original owner $100 for it). Back in the late 70's we used it for keyboards, drums, my guitar, and even vocals when we didn't have a P.A. system. It never failed to meet the challenge. Though I have always loved it, I never dreamed it would be such a coveted item.
Thx for the plethora of geekdom info- i appreciate it - i’ve had one for many yrs- and keep learning more- i recabinated mine for a JBL k120 and that has made a ton of difference! It’s a little beast of tone !!!
I was hoping you were going to mention the 'Rivera-era' Princeton Reverb 2 as I used to have one of those. But I guess you were going for an overview of the classic Princetons so that omission is fair enough. Anyway I'm chasing a '68 re-issue right now so this video is timely.
Ive got a PR2 as well and it's a great little amp! I was hoping for a mention here, but like you said he most likely was focussed on the classic Princetons.
My first GOOD tube amp was a 64 BF non-reverb Princeton. I've loved Brown Princetons that I've encountered, but couldn't afford. My favorite amp ever, is a Weber Tweed Princeton kit, with a negative feedback control added. Just an innately musical guitar loudener. My fave!
Harp player here....back in the day I played through a 65 PR, my all time favorite amp. Depending on the venue and the band I would mic it or slave it into a Fender Bassman. The black face PR with the right tubes is a fantastic harp amp. Thanks!!!
I have a 61 that's probably close circuit wise besides the tremolo I love that thing......lol it loves other speakers IMO .If you have never heard one through a 4/12 You Should Loud too
A fellow I know owned the best guitar store in the city I live in. He retired recently and before that I was speaking to him. He told me the princeton was, in his opinion, the best amp he has ever played. This is a man who has owned pretty much everything and was really into playing. Think about that, access to anything all the time and the princeton was king. I got one in the end. It's the best non high gain amp I've ever played. I'm a convert. Great amp.
Personally, after hearing so many Marshalls, I think the only thing that would satisfy me is a Marshall 50w head(or 2 😁) and a half stack(or 2 😁😁). I absolutely love the sound of a Les Paul or SG straight into a Marshall. ❤️❤️❤️
I got the Princeton from a yard sale for $30.00, the tubes were in the bottom rolling around. Put the tubes in and it was glorious, 15 minutes later I was off to work. Twenty years later and I still have it with a rebuild, new speaker and tubes. Transcendental! I'd had an older Blackface that had reverb but got tired of fixing it. Love this Silverface I have now, it's a keeper. It loves pedals!. Paired with a Vox AC-10 sporting a Celestion 10" Greenback they are the dynamic duo
I have a PRRI and swapped the speaker for a Celestion Gold 10'' and replaced the baffle by a plywood one I made. This guy followed me around the world and I couldn't ask for a better amp.
Well done video. The silver face amps didn't use a particle board for the cab. They didn't. Fender fans crap on the latter cabs for them being plywood instead of jointed solid pine cabs. In modern times plywood is usually marketed as a luxury... The baffles on blackface and silverface were both particleboard though...
Very nice job, Keith! I'm just a neophyte PRRI owner, but mine does have a D123 JBL in it, so it's well suited to hold the low tunings and fat strings on my Tele & Nat'l builds.
I found my tone a long time ago, when my old AC30 got pissed on by a drunken band mate after a gig (I kid you not lol) & I borrowed an Orange OR120 head from a friend. I fell in love with it, so I scraped, scrounged & begged him till he sold it to me. I still use it for gigs 30 yrs later but I use an Orange Tiny Terror at home (my wife banned me from playing the OR lol. Can't imagine why) & even sometimes for gigs. It's only 15w but it packs a serious punch & played through my 2 Marshall cabs, sounds pretty damn good. Good enough even to make me rethink my opinion of smaller amps. Plus, they're so much more convenient now many venues have great sound systems. Cool vid as always Keith.
Got a '64 PR that I picked up in Hollywood in the late 70's in mint condition. Still have it and one thing I wondered about was why they didn't put the Fender logo on some of them. The Princeton you show at 0:56 in the video is also sans logo. Any ideas?
Thanks Eric. Still a mystery to me as to why they did that. If I come across info from any old Fender employees, I'll post it. Best regards. (BTW...hold on to that amp!)
I bought a dead mint 64' back in 94 or 95' from Walter's Music Exchange in Austin with the original General Tire Tolex tag for $300!!! a steal even back then. It did not have a logo either. They added them probably in 1965.
Here is what you are missing about Fender and the Princeton. Analytically, when examining circuitry, hence the schematics.....The Princeton crossing over into the tolex era was basically an evolution of the tweed deluxe amp. The Princeton can be thought of as a single channel tweed deluxe and the next step in the deluxe evolution being that the power section went from being cathode biased to a fixed bias & negative feedback loop on the phase inverter, and that it had an added vibrato circuit (which would be the 1/2 of a 12ax7 that the other channel would use in a tweed deluxe repurposed for the vibrato circuit). The early era tolex amps had a tone pot where as the later era went to the traditional tone stack of the 1960's as opposed to the tone stack/cathode follower style of the tweed era amps...….with its associated gain loss. There are 2 directions you could go in modification, one of which would be the classic mesa boogie tone stack ground lift which they called a gain boost......which it is due to the gain loss of the tone stack being lifted out of the signal chain. The gain boost would be similar to the gain of a tweed era deluxe......all be it being just a single channel deluxe. A more sophisticated mod for the gain would involve bypassing the tone stack all together with a switch and have the signal pass through the appropriate value signal cap. The ground lift of the tone stack still has the signal passing through the tone stack network but is more simple to do. The secondary mod would be to convert the Princeton from being fixed biased to making it cathode biased by changing the circuit appropriately. Then you would also have to examine the plate voltages and adjust them appropriately for a tweed response. Tweed Deluxe amps were not known for the clean headroom range. When cathode biasing, you need to also examine the phase inverter as there are 2 points which can be changed on its cathode, and this also has to do with the negative feedback circuit. With the feedback circuit, the amp will be tame in such sense, but if you choose to drop the negative feedback.....the amp can become a very knarly beast in a great way.
@FlamQ Dbltap I do recommend changinging the silver faced amps back to the black faced specs. This usually revolves around the phase inverter and the power tubes biasing situation. The phase inverters were tamed down in the silver face amps so as you go up in volume....they just stay clean and don't break up. That might be fine for particular circumstances or if you want a really clinically clean signal....they sound quite sterile to my ears and not like a tube amp despite being tubes. But other that changing out values for the offending resistors, you also have to mind the voltages on the plates. The more critical of the plate voltage is on the first pre amp tube, and you'd have to adjust the power rail feed resistors as these can be the schematic values or end up different values than what's on the schematics.....but also affected by the power tube bias. SO once you ball park the voltages, then you set the power tube bias and recheck all the plate voltages and make any final adjustments. The primary preamp tube is where your sound originates so the plate voltage affects this. The higher plate voltage which some of the amps spec at around 225 volts lead to a cleaner high head room situation, where as like a bf deluxe reverb specs a 170 volt plate voltage which will give less head room and bring on breakup faster. SO its a matter of preference for your guitar playing style. You can actually go alittle lower than 170 volts too. This is in a generic sense as the type of tube you put into the sockets have their own thing to them so setting the plate voltages is kind of a thing of striking a balance. The power tube plate voltages tend to be high in silver face amps, so once set up and in final adjustment....you measure the plate voltages and compare to the schematic. Generally when the power tube plates run up in the 465 volt range, the power tubes tend to be kind of bright and sometimes can be a harsh brittle bright. This can be affected by the tube choice as 6L6's have a scooped kind of curve with a high end "chime" as some describe it.....but the high end can get to be brittle high. The tube books from the manufacturer's in the era like the RCA book, they list the maximum plate voltages at around 400 volts, so fender was pushing past that in the silver face era, but not so in the tweed era. So reducing the power tube plate voltage might be the direction to go. So its a combination of the power tube selection and the plate voltage again just like the first pre-amp tube. The higher voltage on the power tube plates yields more power, and with less voltage the output power will decrease but you shouldn't be able to tell......its in the math. But I tend to use a high wattage cement power resistor inserted in series in the power rail after the diodes. Generally 500ohms may be the value to drop the voltage.....or less than 500 ohms. It depends on if the particular amp has a solid state rectifier or a tube.....the tube insert point would be off the rectifier...the wire that connects to the power rail would be replaced with the power resistor. You need a high power rated type because its going to get hot. Ideally one with a chassis mount and fins for cooling would be the type. But keep in mind that this would also be a fuse kind of thing, so if it gets too hot and burns out....the amp shuts down. SO you need the high wattage type to prevent this. SO if you do this to drop the plate voltages of the power tubes...….you'd also have to readjust all the plate voltages the whole way through to the first preamp tube again. My personal preference is having a master volume, a 1 meg pot, in front of the phase inverter...as its a gate keeper to the power tubes...how much signal will get to the power tubes for amplification. Fender may have started with a MV in 1972, and it was a non pull out MV. To understand what is going on, when you do not have a master volume.....the signal goes through the amp to the power tubes and the volume control present on the first preamp tube is the only control. The head room of that first preamp tube in relation to the signal passing through to the power tubes and the overall loudness ….its just a single relationship and you don't have good control over the head room and "compression of the wave" passing through to the power section. The head room adjustment is affected by the plate voltage on that first preamp tube, so as you go up on the dial to "10", the wave will be growing.....both peaks on the wave. There will be a point on the dial where the wave will reach its maximum and the top of the peaks will start to "compress" and that's where the breakup point is and the over drive and distortion character. A better term for "compress" is squish.....the top of the peak of the waves gets squished down.....and if the plate voltages are set right...you'll have control on the dial as to how much you can squish it down...the breakup. Hence 225 volts on the plate has less squish. If it were a foot pedal and solid state, the signal through those electronics gets clipped off abruptly so its a squared off flat line, where as a tube squishes down and has a rounded transition rather than an abrupt clipped off top of the wave. So without a master volume, you would be having to have the amp way loud to get to the juicy compression character which is in that first preamp tube and the single volume control for it. With a master volume, you'd set the preamp volume up to find your break up point you like for your playing style and set your tone section......the signal then hits the master volume which is the gate keeper to the power tubes...….so you bring up the master volume to adjust your loudness. To get into the juice of the power tubes and their distortion/compression character..... from zero to about 3 on a master volume dial is where the power section will amplify louder and louder as you come up on the dial. After 3 and going up to around 7 or 8 is the range of the dial where you will be in the power tube zone of compression and distortion. So dialing up in that range will yield more and more dynamic but it might be subtle to your ears but its there. And from 7/8 to wide open is jimi Hendrix territory. SO the preamp squish is passed through to the power section and it depend how loud you want to play and how much power tube juice you want. The overall loudness dialing up to 3 from zero is really the thing for loudness of the amp....as going into the juice of the amp passed 3....the loudness of the amp doesn't really sound like its getting louder like its more watts. SO overall loudness is more about selecting the power tubes...….2 6L6's types will be subjectively "louder" in watts than 2 6V6's......but it can be kind of close at times depending on voltages. SO professional players and studio players always lean on the lower wattage amps with the 6V6's.....The 6V6's have a certain kind of creamy tone to them as opposed to the big brother 6L6's, and the 5881's have a certain creamy thing as opposed to the 6L6's. If you play in a band, you want to be loud enough to hear yourself when on stage with your band members playing too. AS for the master volume pot itself, when its wide open its 1 meg of signal separation to ground so it should not affect the quality of the signal. If there is a purest thing with issue to this 1 meg separation to ground, they do make a "no load" pot, and its finding a 1 meg one. The no load kind of drops the pot action out of the pot....as there is a small gap in the trace of the pot swing when its wide open, so there is no 1 meg to ground. But that little separation in the swing is like a dead spot on the dial you want to stay out of. Up to the drop out it acts like a regular pot.....so it separates the signal from going to ground as you dial up. So on "10" wide open, its transparent as if there is no pot in the circuit. Is it worth the trouble to use a no load pot...…?????, I would say its not worth it as most 1 meg to ground circuits are maximum signal through....its often a situation to eliminate pop of switches which carry signal as well as the scenario of the first preamp tube and the guitar signal coming in for amplification. The 1 meg distance to ground is the maximum. If you happen to have an old amp that uses a 500K pot instead of a 1 meg pot, yes there is signal still being bled off to ground with a 500K pot, so you can swap it with a 1 meg and get more gain out of that amp. The issue is that the amp was not "designed" by the designer for that in which some people go bonkers over because they do not understand electronics. A lot of the time designers actually don't play guitar and have no clue. Its kind of like a chef cooking a dish that they do not eat so they have no clue on how it tastes.
to clarify a bit further, a 500K pot doesn't separate the signal to ground enough, where as a 1 meg pot reaches the maximum potential. You can do an ear test......but point being....there are 2 meg pots and sometimes larger values. There is no difference in the ears to gain when using a 2 meg pot......the magic spot is a 1 meg pot. Electricity takes the path of least resistance to ground. What you want is a good sweep in the pot dial for adjustments......so there are pot tapers and there can be different rates of the pot taper with the manufacturer's line of pots...standard or special taper. There is a lot to amplifiers as they are not a generic thing. Capacitors and resistor values and the materials they are made from, the voltages and the tube themselves......everything can be critical. But there can also be a factor of STRESS...the electronic stress and the thermal stress on the materials......its gets complexed. The "classic" amps were made by companies seeking a profit and nothing to do with signal quality or specifics, so they used the cheapest sourced parts.....aand 50 years later those parts deteriorate with age. Even within the era and off the same assembly line, there was variances in the product where no 2 units would actually be the same exactly to the littlest of detail electronically. With components of the present times, there can be more consistency in making an amp and circuitry.....and on my part its based on working with the stuff and experience of years of hands on......and being a guitar player. AND NOT BEING DEAF......which is not a reference to playing guitar at loud volume levels over an extended period of time. Keep in mind that there are old timers that were in the same room/hall of loud guitar...some have hearing loss and others do not. I'm referring to having a critical ear....
One further thing, with the RCA tube books being reprinted and available as opposed to obtaining a vintage book. In the back of the tube manual they printed circuit diagrams for different applications whether it be audio or for TV. The designs were given away free as their labs came up with them as a means to promote their tubes they sell and manufacture. This is where leo fender first got his amplifier notions on being a manufacturer. They all used existing designs from the western electric labs or from RCA......then tweaked them. The components of the time changed over the course of electronics evolution as referring to materials......vacuum tubes gave rise to solid state and transistors......and there was a push on in the industry to miniaturize …...so the bulk and size of vacuum tube circuitry was reduced with transistors, and further along the time line with solid state electronics came the IC chips further reducing size. In the Vacuum tube era, size wasn't really a consideration as it was more of a novelty that there were electronics & that science...the technology.
Got one for xmas in 1968, my first amp. It was blackface, but must have been in dealer's stock since 67. Loved it. Paired with a Univox fuzz and a Univibe. Later got an EH LPB-1 booster and added a homemade cab with 2 12". It was a rocker! Them were the days!
At the peak of my GAS years I was saving for a Princeton even though my VHT Spec. 6 was way too loud according to my wife. I finally settled for a Fender Champ XD which I currently own and will not part with. Oh, yes my wife thinks it's way too loud so I also bought a Yamaha THRC 10 with a headphone jack. Happy wife, happy life.
@@thesoundchekguy If a Princeton at 2.5 is too loud, perhaps a torpedo, suhr RL, or going full digital? I specifically chose a (very) small house to rent instead of an apartment for this reason. Even still built one of the closets into an isolation booth, in case I need to *really* crank up either of my tube amps. (a Larry Grohmann Dino and a 93 Matchless Clubman)
I wanted so badly to like the 68 reissue I bought, but the super cheap speaker baffle rattled like a fat hooker on a cold night. I tried tightening everything, but nothing worked. There are tons of videos on how to reinforce the baffle, but after spending $900 on an amp I wasn't about to put more money into it and void the warranty.
Sorry to hear you had a bad experience with your 68 RI. It's hard when you can't turn an amp up before you buy and most stores aren't set up to handle that...and don't get me started about buying gear online. The shipping is a killer and the returns a nightmare. Hope you got out of it without too much pain. If not, I'd put it in a new solid pine cab. I"ve used Pinetone and The Cab Guy (John Hinsdale). Both do solid pine with baltic birch baffles. Dead silent. Best, Keith
Not being that much of a Fender amp fan myself, I always wondered what the differences were between black face, brown face, and silver face amps.....and now I'm still none the wiser 😆 Well maybe a little bit 👍 I'm wondering also that in these stupid days of 'political correctness' and people being triggered at the slightest thing, it wouldn't surprise me if the thought police try banning the use of the terms black face and brown face. Although to be honest I'm surprised that noone has kicked up a stink about it....or maybe they have and I just don't know about it.
"If your Princeton's not enough (loud) to keep up with the band, then the band is probably too loud".....I'm sorry but....have you ever hear real rock n' roll hard strummin drummers? Try to match that with a Princeton....? Don't make me laugh. And please, please dont't get me wrong....I love little amps and Princeton in particular for what they are....but that's NOT enough VOLUME for a good sounding rock band.
I hear you, but I'm talking about proper PA, and maybe a drummer that is less performing than serving the tune. Sorry but if Beck can do it with Pro Juniors, and Campbell can do it with a pair of 12 watters (mic'd to high heaven no doubt). I'll stick with my statement. And we can respectfully agree to disagree, and I mean that, respectfully. God knows I wouldn't ever want to impose my ideas on someone else any more than I'd want the reverse to be attempted. Turn up the PA, turn down the stage volume. You'll rock longer, or I should say, you'll hear it longer while you're rocking out.
@@fivewattworld Oh I didn't mean no disrepect here at all. Sorry if my comment sounded like that. I was just tryng to say....not even for playing live in stage w good or bad PA.... take it to a rehearsal enviroment, (wich I did), and well.....to get the drum sounds I like, (and many many many others), is necesary to be played at a certain level....you know what I mean....and a Princeton, wich I love how they sound, is not enough for that SPL. And I really enjoy the video, thank you. Cheers!
This is from Larry Carlton’s cousin Steve when I asked him about Larry’s set up for Kid Charlemagne “Yes it was a 1972 Princeton Reverb amp, modified by Paul Rivera when he worked at Valley Arts Guitar. It was a "stage 1" mod, which only increased signal to noise.
And of course, Larry played his 1969 ES-335 with Ernie Ball Super Slinky's.” He should know. He was there.
Fab info, Uncle Rick
Well who is right then? Larry's cousin or Larry himself? Larry himself claim, that it was a Tweed Deluxe on ALL Steely Dan cuts including the night fly record. Larry only brought the tweed amp for those dates, but would normally use either his Rivera amp or an old Marshall with Dynacomp in front of i on normal dates.
@@cockcockson7965 Yeh. Here's the video where he talks about that very amp. The 5E3 is about 13:00
czcams.com/video/rcfZwva-v64/video.html
it was his tweed deluxe 13:45 in this interview www.premierguitar.com/articles/21081-rig-rundown-larry-carlton
Search for Jay Graydon and Rivera on youtube, and you'll find all the information on the mod Paul did to Fender amps. But again it is not a Princeton Larry played, but a Fender Tweed amp on The Royal Scam record.
Wanted to let you know, that your soothing style of these talks helped me through very dark times, and I didn't commit suicide last year. So thanks for the help.
Good It's Not Worth it. Just in Case you Would Have to Come Back Do it All over.
Hope your doing well
Good on you for forgoing the suicide what a difference a day makes!
Brother, you are loved, even if you can’t tell or can’t feel it. I love you
Lmao 💀
I've known for almost as long as I've owned it that the Stratocaster I bought at a flea market years ago was made in April 1965. Only a couple of years ago, however, did I discover that my old Princeton Reverb was also made in April of 1965. It's kind of cool to think they could have been on the loading dock at the same time.
Match made in Heaven there....I have a 65 Strat as well but my Princeton is a 61 The 65's are the best...I had a 58 too so I know a little about Strats
Especially when I was born April 10 1965..haha They should belong to me...You lucky bastard.
I’m going to the wrong gall dang flea markets.
Looks amazing Hypes!! Great video dude!
Thanks Hypes!
Is this an alternative universe - or a textbook case of cross-pollination? I'm a BIG fan of your videos, Rick - I watch them compulsively. Thanks for sharing your vast knowledge, great insights, and tasty production - not to mention impressive chops. Long may you run!
FlamQ Dbltap Thanks FlamQ.
@@fivewattworld apart the facts are not right..
This is great. Still have my 69 my mom bought me new when I was a kid!!!
Sweet!
Same here only 77
The Princeton Reverb is one of the best clean tone amps around. The small package is what makes this amp a big choice for my at home playing
Haven’t stopped by in a while, glad I did! Thanks!
I couldn’t agree more. I’ve played through one live every week for 8 years and it’s all the amp I’ll ever need.
Great video Kevin! I don’t own a Princeton, but my Princeton story goes like this. I’m a child of 80’s guitar, especially EVH, use a Charvel Guthrie Govan and an Axe FX II for all my gigs. The bartender at Reggie’s in Chicago goes “Johnny, you don’t need all this, all you need is a Tele and a Princeton.” I worked at CME at the time so being a wise guy, I borrowed a vintage Princeton and Tele from the shop. I showed up to the following week’s gig with that and a Butler overdrive. He was right.
Good story. Welcome to five watt world.
Keith
🏡👦 He’s home alone!
"Keith!"
@@shaft9000I wish I had video from that night. With my Axe Fx, I can get a pretty close VH I tone with the obligatory Phase 90. But I think that’s the point. Without all that, what can you make it sound like? With your hands and a little overdrive, it’s more possible than you’d realize.
Lmao love Reggies
I am catching up on FWW vids. How cool this is. It's like memory lane. Had a nice '67 Princeton at one time. "Had" being the operative word. My uncle "fixed" it for me once. Shocked the hell out of me whenever I touched my strings. Thanks uncle Dave. Dork. I got a cool permed mullet out of it though.
I bought the 65 Princeton Reverb special Sweetwater edition in brown tweed and it is coming today. It has the 12" Cannibis Rex speaker. I really appreciate your work here at five watt world!
Another great video. You guys are the best with these shirt history videos. Outstanding. Really makes me appreciate how lucky we are to have such fantastic tools to write the soundtrack for our lives. Awesome.
As I recall Mesa/Boogie started as modded Princetons.
They were built in Princeton cabs on Princeton chassis but no stock anything was used beyond that. The Boogie only works because Randy had enough RF experience to tweak it and so it's very tough to build a Boogie clone. After you've built and debugged a few tube transmitters it's worth a try, but remember the schematics have deliberate errors so you'll need an actual amp to copy off. Dumble is really not a trained electronics guy in any sense so he had to build something he could make work and consequently it's easier to build a Dumble clone than a Mesa clone. Life is funny that way.
Gigged my Princeton in rock bands for years when I got too lazy to haul bigger amps. It's great, just loud enough to be heard over a loud rock drummer. But at that volume you have no clean headroom. Still made it work, legendary amp
2/12 isn't too bad of a haul....it's a killer set up for a vintage Princeton
Your information, like always is very informative. Thanks for taking the time to make this!
Thanks Paul!
I am absolutely loving these short history videos! Thanks for all the work that goes into these!!
You’re welcome Jack. Thanks for watching.
@@fivewattworld Thank you! I like the fact that they are long enough to cover the subject but not too bogged down with a lot of fluff, just right!
I just purchased a Princeton 65 reissue and I love it. I got it after seeing Marty Stewart and Kenny Vaughn both playing Telecasters through Princeton's and sounded Amazing!
got to love cousin Kenny
Mike Campbell mikes his little amps and sends them through the PA and the monitors, so he's relying on them for tone, not stage volume, which would be ridiculously inadequate. That said, a friend of mine has relied on a silverface PR modded with a very efficient 12" EV speaker, and that sucker is indeed loud. That high efficiency 12" speaker goes a long way.
Of course, but I understand from interviews that Mike also has used a PR as his stage monitor, use to have one in front of him sending the guitar tone back.
And totally agree on the 12" mod for gigging. You can buy a lot of virtual headroom by using a more efficient 12 and not needing to turn up as much.
@@fivewattworld Allen beefed up tranny helps make it louder too. That and a DR output tranny. I say stick with a 10" speaker tho or just buy a deluxe.
Love this video, great topic, great content. Thanks Keith
Great breakdown ! I loved how you ended with Campilongo. I recall an interview with Joe B from a few years ago, hotel room, BF Princeton dimed with a vintage Les Paul with the guitar vols turned down. Screamed!!
I am glad I discovered this channel. I am mainly a bedroom type player that occasionally records a song, so I don't need a huge amp, and this channel is perfect.
Welcome to five watt world William!
Yeah, I'm in the same category. I have a Tiny Terror combo and a little Joyo Champ clone, but def will be buying a Princeton in a year or so.
Heys Guys, Gals. Less Is More! :)
Best slide sound I ever heard live was a local guy using 2 Fender Rivera Super Champs which would kinda be a Princeton Reverb Jr on steroids but I been thinkin' of down sizing yet again to something like a PR. My Mesa Maverick is great but 30 watts is killin' the cat....
Mate. This was amazing! Just bought a reissue and absolutely love it. My dream amp. Looking forward to more videos
Missed this one. Glad I found it. Great content. It helped me see how your production has become more polished over time. I've been enjoying a Stapleton signature for about a year now. I typically use a Yamaha THR10 so I can keep the volume down but when the house is empty, this really scratches the itch.
I tend to agree becauseI learned the hard way about music and sound.
My first amp was a Vibro Champ that really went unappreciated until recently. I slowly clawed my way up to a Twin Reverb, and I could put out some loud music.
All the while an old friend was using a Princeton Reverb. When we got together again he asked where my Vibro Champ was, and I told him in cobwebs in the closet, and I set up my Twin Reverb. Pete set up his old Princeton Reverb, that he had back in the early days, and my jaw dropped; he was light years ahead of me on the sound issues. I had always equated louder with better, but Pete was still playing through that old beaten up amplifier and getting a great sound.
I was shamed into digging out the old Vibro Champ. Not by my friend or anything he played, but by my own personal awakening and my former blind, or possibly deaf, ambition regarding the generation of music and sound.
This is why I agree with your statement, "15 watts is the new 50 watts." I didn't need to be louder. I needed better technic with the guitar. To bad I didn't learn this when I was younger, it may have spared a few decibels of hearing along the way.
I agree. I've had Twin Reverbs and a Princeton Reverb. The Princeton sounded better and it was easier to carry. The Twin sounded like a jet plane idling before take off.
Spring reverbs were the best - you could jam things into them like glass pill bottles for a ringing sound, or put dampers into them, like tissue paper.
I used to tap the back of my spring case with a drum stick to get psychedelic reverb.
Syd Barrett would have been proud of me.
Great timing thanks. Just as I am trying to decide what to buy next. Keep up the good geeky work.
I really enjoyed this one too Keith, thanks! I just started looking into the differences between the reverb and non-reverb versions. This was really helpful.
My friends I (band mates) in college would always joke around that 1982 was the height of rock and roll. There were some really amazing records that debuted that year :-) You had a great little first rig that's for sure.
Nice video! For what it’s worth, my Rivera era “82 Princton Reverb II has been my main gigging amp for almost 20 years.
I have a Princeton Reverb II as well and was wondering why (unless I missed it) it was not in this video.
I used a 82 Princeton Reverb II from 83-2015. Fantastic amps and never a problem. I switched to Orange and like those a little better Super Champs are great too.
I've been a longtime Fender black face amp lover, but I recently just came by an all original, 1962 brown face 6G2 Princeton. It's an entirely different beast, but it rivals my Princeton Reverb cline and '67 BF Super Reverb completely. Great vid man!
61 owner here Love it especially with an extension cabinet hooked up
a great video Keith, I own a vintage 1968 SF Princeton Reverb with a hemp cone 10 inch in her, an amazing amp, even on large stages as you say... it's my goto for most gigs I play. I also own an early 70's SF Vibro-Champ.... another grand winner from Fender, again with a hemp cone 8 inch in her as well.
Keith - Thank you for another great video. Love it and this great stuff coming!
I own a '68 PR, '74 DR, '73 VR, '71 Pro Reverb, and '75 Twin Reverb. I love them all. However, for raw tone and recording the Princeton Reverb is just the best, IMO. However, I've struggled like crazy trying to use it on stage with a full band. There's more to it than just volume. I HAVE to have some amount of clean headroom to enjoy myself and play like I want to play. A couple PRs - a la Mike Campbell - lend much better to big, jangly chording and soloing, and of course he's going to have the benefit of world-class stage monitoring. But in clubs with tight stages, drum kits crammed up next to the guitar amp, with the bass rig on the other side - I just haven't been able to make the PR work. That's why it's so great to have the larger Fender amps.
Cool video! It be nice to see a Deluxe Reverb one too!
Nice, quick history rundown. Thanks.
I have a Princeton NR with both transformers and serial dated to 46th week of 1980, so they were still cranking them out then.
Bought it for $100 bucks from a dude at my local bar. Needed a speaker and the two power tubes. Super clean sound and "the" platform for pedals. Plenty loud for my music room. Love it and will never part from it.
I love all of these mini documetaries. Thank you
You never really realized how awesome a Princeton is until you traded or sold your awesome Princeton.
I couldn't have said it better. I sold my 1970 in the 90's and took me to this year but I found a 69 drip rail
Jim Campilongo is a Major Princeton user!
I have two 66 Princeton Reverbs, one with original speaker that sounds great, 2nd waiting a new Eminence Alessandro speaker I just ordered today. Both going to an amp guy in AZ - Lowell Hunt next week for analysis and tune up! Guess I'll just have to survive on my perfect 1960 Tweed Deluxe until I get these amps back. Life's hard! P.S. Didn't know until today that Kid Charlemagne was recorded on a Princeton. I know Larry used a 1959 Tweed Deluxe to record Don't take me Alive.
Started out 40-something years ago with a Silverface Deluxe Reverb. Most watts I ever wrangled regularly was a combination of a Marshall SLX 50 watter and a Mesa Boogie Simul-395 power amp, tri-amping wet & dry. That was in the 90's, and it was a lot of loud fun. These days I play a modded Bassman 20 (thanks Dan T. at AMAudiocircuits), which carries Princeton output-iron btw. Completion Backwards Principle in action lol.
Great video, thanks for sharing...
Hey man if you're reading these, I absolutely love the Short History videos you do. It's so hard to find concise histories on all these iconic instruments in one place and you do such a great job putting it all together and keeping it fast and interesting. Thank you!
Thanks John! Yeah, I read all the comments. I’ve been moving but am releasing the next video tomorrow morning.
Thanks for taking the time to comment and thanks for watching the videos.
Keith
@@fivewattworld and that's just one of the many reasons I love this channel. Thank you, Keith! ❤️😎
I miss my Silverface 70's Princeton Reverb. Had to sell it to pay tuition for college in 78. Was plenty loud enough for my level of play at home. Miss my strat as well. Should have never sold that black strat, but money was tight. Had it set up by Stars guitars in San Francisco back in the day. By the way, with regards to your # of guitars, I view them as works of art, not just a tool. I am a woodworker, so maybe that influences my view.
Great informative video.Thanks again Five Watt World.Love this Channel
Awesome video, thank you! I'm thinking about getting a Princeton but I was confused with all the different models, your video helped me :)
You forgot to mention the many thousands of dollars worth of reinforcement apparatus in line after mic’ing Mike’s amps. Which is what makes stadium gigs with a Princeton possible.
Yes. But more like hundreds of thousands of dollars (US)! The mixing consoles alone can exceed 100G's!
But true; with the audio systems of the past couple of decades you could do fine being heard using a pignose practice amp.
*(I said, "heard". I didn't say anything about sounding good.)
:-)
Even in club gigs, a little Gibson GA5 w/8" speaker can be mic-ed up and added to the house mix and monitors. It actually blends better that way too.
BUT - there's a natural symbiosis, a circular partnership that happens when the amp is directly feeding back (not feedback) into the chest and heart of the guitarist that just doesn't translate as well through the monitors - definitely not through the in-ears.
We need a bit more 'umph' to get that going just right.
The first band that I was in back in '67, the guitarist played through a little Princeton. I couldn't believe it. My bass amp was a 15" monster about the size of a half stack. Hey, but he made it work.
Excellent presentation on the history of the Princeton amp. Thank you
Excellent presentation! I had a 1965 Princeton Reverb and liked it very much, yet sold it, much to my later regret. I'm glad Princeton Reverbs still are being produced and are available.
Good stuff. The non-reverb black/silver Princeton is IMO a friendlier home amp, as you can run it clean at ~4 on the volume for a full sound without annoying anyone. For gigging I might opt for the reverb version for the extra breakup/volume ratio (and the ‘verb too!). Depending on the venue and style of music, of course.
I'm right there with you. I use a Vox AC10 for the reverb in my 12 watt wet/dry rig with a Gibson GA40 clone in a Princeton cab (video to come). The GA40 can do late tweed to Marshall tones and the Vox, well we know what the Voxes do so well. :)
As long as your amp is louder than a vocalist, it's loud enough. If you have to stick a mic in front of a vocalist so his or her voice can be heard, then you can also stick a mic in front of an amp, and run both mics through the PA.
depends on the type music you're playing.
@@shaft9000 Why would anyone be gigging outside without a PA? Granted, the Ventures, the Shadows, or some other all instrumental bands might not need a PA since they have no vocalist. But in a really big venue, even the drums need to be mic'd through a PA system. From the perspective of a guitarist, I'm only really concerned with how high the quality of my sound is. The sound engineers are the ones responsible for making sure the audience can hear everything. From an audience member perspective, generally the sound of really loud big amps gets pretty muddy far back from the stage if all the sound isn't run through a well-controlled sound system. Bottom line, going through a well-managed and setup PA system in ANY venue results in better sound. I've walked out of far too many shows where the ego driven lead guitar player was using his Marshall stack to drown out everyone else in the band. Frankly, that sounds like shit.
Just fyi, in some countried, even in the western world, PA systems are extremely expensive and not often bought for a small stage. For example, here in Spain, I have been many places with no PA system or old systems that cant be used for more than keys and vocals. Big amps are still useful, in certain places and at certain times.
@@Whydoyoureadme Please note that I said "IF you have to stick a mic in front of a vocalist so his or her voice can be heard, THEN you can also stick a mic in front of an amp". It's a classic "if-then" statement. If you don't have a PA, then of course you can't mic the small guitar amp. But, you also can't mic the vocalist, so you're stuck playing instrumentals, right?
Princeton Chorus
Just found your channel and have watched almost all the videos. Great content and really well done. I love the minimalist theme and playing more. Spot on for me. Thanks and look forward to more.
Thanks Paul! Welcome to five watt world. More to come.
Thanks for a great rundown.
Cool! Kid Charlemagne as the backing track! Love it
I literally started weeping seeing that last Tom Petty clip. Back in the day I was sure he would outlast The Rolling Stones.
I think we need a national Tom Petty Day. Who's with me???
Count me in Randy. Where do I sign the petition?
You be leading us fiver .
Oh yeah! Tom Petty was a one-hundred-percent-real-deal rocker with a badass band like everyone wants to be when they start out. And what a songwriter. If you had to explain Rock 'n' Roll to aliens, you could just show them the video of a Tom Petty concert.
I know what you mean man....
Tom Petty, Ric Ocasek and Eddie Money. This is really devastating for me. 😢
Thanks for your time.
I always gain by watching.
I have Princeton Reverb Reissue. Great little amp that I gig with exclusively. Looking to find a silverface I can afford. Thanks for another awesome video!
Used to own one for nearly 20 years.
A silverface with the pull for boost volume knob. Sweetest amp I've ever had
And now? What are you playing through now?
@@fivewattworld sadly I'm left with a boss br800to use as a preamp and run it through a sony mini hifi. I know I know......
My old timer had to go for cash (900€) for the sake of my son.
Tried a hotrod deluxe once, but that thing was WAAAYYY too loud.
Hopefully I'll be looking for another vintage fender anytime soon. Maybe for the holly grail, a deluxe reverb, that would be nice
I wish I still had my ‘77 Princeton. Selling it twenty five yrs ago is one of the dumbest things I’ve ever done.
Thanks Keith> five watt world . Fascinating. We are so lucky!
I’m looking at one of these, thanks Keith , live your videos 👍
The new 12” speaker version of the Princeton Reverb fixes the only issue that kept it from being a perfect amp for me. I love the Blackface PR but I’ve never been a 10” speaker guy. I’ve been really tempted by the new reissue , I still am honestly and it wouldn’t be a surprise if one didn’t follow me home sometime lol
Exactly!!
Yes and why they have an ext spk out..... sometimes when recording you want that ten but I prefer 12'as well...I just hooked mine up to a 4/12 Marshall alnico loaded and WoW Gonna try the mid 80's Anniversary half stack next Ceramic 65's Really would like to try 4/10's too
@@paulcowart3174 Recently tried the G12H-75 four of them would be amazing but my fav is the G12H heritage 55hz that is discontinued now
My first amp was a Fender Princeton Reverb bought for me by my dad about 1969 or 1970. If memory serves it was a blackface (of course, memory doesn't alway serve...) but it's my main "wish I still had it".
Been giving a lot of thought to getting one of these amps, since trying one out a few weeks ago. I have been wanting a new amp for a while and have been doing lots of research. I enjoyed this video.
I have '65 PR that I will never get rid of. I'm always amazed at the tones that come out of that little amp.
Absolutely the greatest CZcams review of guitar gear. A Silver-face Princeton also my first guitar amp, but like All The Young Dudes, I soon enough wanted something louder, even if running an original EH Big Muff into it, my only communication with my parents at 15 had already become, a constant "Turn that damn guitar down!" Loved the Mike Campbell story, the most under-recognized all-time great guitarist ever, new info to me, and you ended this Princeton history and video so nicely with The Heartbreakers clip. Tom Petty, R.I.P., so loved and dearly missed by many.
Thank you for the accolades. Very appreciated. Glad to have you as part of five watt world.
I have had a now mostly retired 68 Princeton Reverb, for over 40 years. (I paid the original owner $100 for it). Back in the late 70's we used it for keyboards, drums, my guitar, and even vocals when we didn't have a P.A. system. It never failed to meet the challenge. Though I have always loved it, I never dreamed it would be such a coveted item.
I've a 69 for 25 years cost $400.
With all that and the math I still can't play like Jerry Garcia.
Another great segment, thank you
Thx for the plethora of geekdom info- i appreciate it - i’ve had one for many yrs- and keep learning more- i recabinated mine for a JBL k120 and that has made a ton of difference! It’s a little beast of tone !!!
I'll bet that's one heavy little PR with that JBL in there.
Now I feel silly for trying to dime my Princeton Reverb in my room. The Pete Townsend story explains why the walls and windows were rattling.
I was hoping you were going to mention the 'Rivera-era' Princeton Reverb 2 as I used to have one of those. But I guess you were going for an overview of the classic Princetons so that omission is fair enough. Anyway I'm chasing a '68 re-issue right now so this video is timely.
Ive got a PR2 as well and it's a great little amp! I was hoping for a mention here, but like you said he most likely was focussed on the classic Princetons.
Thanks for opening my eyes (and ears) to small amps.
I must say, I enjoy this channel
Thanks Thomas
@@fivewattworld Just discovered this channel myself. I am quickly warming up to it. Good stuff right here.
I love your “history of” series, maybe some vox and epiphone stories?
They’re on the list. Thanks for watching.
My first GOOD tube amp was a 64 BF non-reverb Princeton.
I've loved Brown Princetons that I've encountered, but couldn't afford.
My favorite amp ever, is a Weber Tweed Princeton kit, with a negative feedback control added.
Just an innately musical guitar loudener. My fave!
Harp player here....back in the day I played through a 65 PR, my all time favorite amp. Depending on the venue and the band I would mic it or slave it into a Fender Bassman. The black face PR with the right tubes is a fantastic harp amp. Thanks!!!
Thanks for watching. Welcome to five watt world Daniel.
If you want to really enjoy the awesome tone of '58 Princeton tweed, spin the magical Hoodoo album by Tony Joe White
John Fogerty has an album too with that title but his was never commercially released, I have a bootleg tape of it.
I have a 61 that's probably close circuit wise besides the tremolo I love that thing......lol it loves other speakers IMO .If you have never heard one through a 4/12 You Should Loud too
A fellow I know owned the best guitar store in the city I live in. He retired recently and before that I was speaking to him. He told me the princeton was, in his opinion, the best amp he has ever played. This is a man who has owned pretty much everything and was really into playing. Think about that, access to anything all the time and the princeton was king. I got one in the end. It's the best non high gain amp I've ever played. I'm a convert. Great amp.
Personally, after hearing so many Marshalls, I think the only thing that would satisfy me is a Marshall 50w head(or 2 😁) and a half stack(or 2 😁😁). I absolutely love the sound of a Les Paul or SG straight into a Marshall. ❤️❤️❤️
A really informative video. Thanks for this.
I got the Princeton from a yard sale for $30.00, the tubes were in the bottom rolling around. Put the tubes in and it was glorious, 15 minutes later I was off to work. Twenty years later and I still have it with a rebuild, new speaker and tubes. Transcendental! I'd had an older Blackface that had reverb but got tired of fixing it. Love this Silverface I have now, it's a keeper. It loves pedals!. Paired with a Vox AC-10 sporting a Celestion 10" Greenback they are the dynamic duo
Love the sound of a Fender and a Vox together.
I have a PRRI and swapped the speaker for a Celestion Gold 10'' and replaced the baffle by a plywood one I made. This guy followed me around the world and I couldn't ask for a better amp.
Hmmm yeah I'm thinking about getting a gold ten instead of the Weber alnico that in it What is the wattage on the gold ?? Thanks
@@paulcowart3174 40w 8ohm for the Gold 10"
@@IbervilleMusic Hey thanks man Sounds perfect Happy Thanksgiving
@@paulcowart3174 Happy Thanksgiving to you and your loved ones! Cheers!
Well done video.
The silver face amps didn't use a particle board for the cab. They didn't. Fender fans crap on the latter cabs for them being plywood instead of jointed solid pine cabs. In modern times plywood is usually marketed as a luxury...
The baffles on blackface and silverface were both particleboard though...
Plywood is strong .
Very nice job, Keith! I'm just a neophyte PRRI owner, but mine does have a D123 JBL in it, so it's well suited to hold the low tunings and fat strings on my Tele & Nat'l builds.
Excellent! Concise, informative, clean(expletive free)..just intelligent info.
I miss Tom Petty. True gentleman and brilliant musician.
Doesn't Mike C. say "reverb" at the beginning when asked to name his favorite amp? But he used non reverbs?
I think that was a toss to the guys at "Reverb" that were doing the interview. :)
I found my tone a long time ago, when my old AC30 got pissed on by a drunken band mate after a gig (I kid you not lol) & I borrowed an Orange OR120 head from a friend. I fell in love with it, so I scraped, scrounged & begged him till he sold it to me. I still use it for gigs 30 yrs later but I use an Orange Tiny Terror at home (my wife banned me from playing the OR lol. Can't imagine why) & even sometimes for gigs. It's only 15w but it packs a serious punch & played through my 2 Marshall cabs, sounds pretty damn good. Good enough even to make me rethink my opinion of smaller amps. Plus, they're so much more convenient now many venues have great sound systems. Cool vid as always Keith.
I just discovered your channel via R. Beato & am loving' it. Subscribed & bingeing on your content...really good, keep it up!
Thanks Jerry! Welcome to five watt world!
Keith
Got a '64 PR that I picked up in Hollywood in the late 70's in mint condition. Still have it and one thing I wondered about was why they didn't put the Fender logo on some of them. The Princeton you show at 0:56 in the video is also sans logo. Any ideas?
Thanks Eric. Still a mystery to me as to why they did that. If I come across info from any old Fender employees, I'll post it. Best regards. (BTW...hold on to that amp!)
My Princeton has no logo. I thought it was because it had a replacement 12" speaker but it seems they jst didn't put a logo badge on them.
@@doitnowvideosyeah5841 '64's didn't have the Fender logo.
I bought a dead mint 64' back in 94 or 95' from Walter's Music Exchange in Austin with the original General Tire Tolex tag for $300!!! a steal even back then. It did not have a logo either. They added them probably in 1965.
I've got a February 65 Princeton Reverb with no Fender badge/logo on the grill cloth.,
Here is what you are missing about Fender and the Princeton. Analytically, when examining circuitry, hence the schematics.....The Princeton crossing over into the tolex era was basically an evolution of the tweed deluxe amp. The Princeton can be thought of as a single channel tweed deluxe and the next step in the deluxe evolution being that the power section went from being cathode biased to a fixed bias & negative feedback loop on the phase inverter, and that it had an added vibrato circuit (which would be the 1/2 of a 12ax7 that the other channel would use in a tweed deluxe repurposed for the vibrato circuit). The early era tolex amps had a tone pot where as the later era went to the traditional tone stack of the 1960's as opposed to the tone stack/cathode follower style of the tweed era amps...….with its associated gain loss.
There are 2 directions you could go in modification, one of which would be the classic mesa boogie tone stack ground lift which they called a gain boost......which it is due to the gain loss of the tone stack being lifted out of the signal chain. The gain boost would be similar to the gain of a tweed era deluxe......all be it being just a single channel deluxe.
A more sophisticated mod for the gain would involve bypassing the tone stack all together with a switch and have the signal pass through the appropriate value signal cap. The ground lift of the tone stack still has the signal passing through the tone stack network but is more simple to do.
The secondary mod would be to convert the Princeton from being fixed biased to making it cathode biased by changing the circuit appropriately. Then you would also have to examine the plate voltages and adjust them appropriately for a tweed response. Tweed Deluxe amps were not known for the clean headroom range.
When cathode biasing, you need to also examine the phase inverter as there are 2 points which can be changed on its cathode, and this also has to do with the negative feedback circuit. With the feedback circuit, the amp will be tame in such sense, but if you choose to drop the negative feedback.....the amp can become a very knarly beast in a great way.
@FlamQ Dbltap I do recommend changinging the silver faced amps back to the black faced specs. This usually revolves around the phase inverter and the power tubes biasing situation. The phase inverters were tamed down in the silver face amps so as you go up in volume....they just stay clean and don't break up. That might be fine for particular circumstances or if you want a really clinically clean signal....they sound quite sterile to my ears and not like a tube amp despite being tubes. But other that changing out values for the offending resistors, you also have to mind the voltages on the plates. The more critical of the plate voltage is on the first pre amp tube, and you'd have to adjust the power rail feed resistors as these can be the schematic values or end up different values than what's on the schematics.....but also affected by the power tube bias. SO once you ball park the voltages, then you set the power tube bias and recheck all the plate voltages and make any final adjustments. The primary preamp tube is where your sound originates so the plate voltage affects this. The higher plate voltage which some of the amps spec at around 225 volts lead to a cleaner high head room situation, where as like a bf deluxe reverb specs a 170 volt plate voltage which will give less head room and bring on breakup faster. SO its a matter of preference for your guitar playing style. You can actually go alittle lower than 170 volts too. This is in a generic sense as the type of tube you put into the sockets have their own thing to them so setting the plate voltages is kind of a thing of striking a balance.
The power tube plate voltages tend to be high in silver face amps, so once set up and in final adjustment....you measure the plate voltages and compare to the schematic. Generally when the power tube plates run up in the 465 volt range, the power tubes tend to be kind of bright and sometimes can be a harsh brittle bright. This can be affected by the tube choice as 6L6's have a scooped kind of curve with a high end "chime" as some describe it.....but the high end can get to be brittle high. The tube books from the manufacturer's in the era like the RCA book, they list the maximum plate voltages at around 400 volts, so fender was pushing past that in the silver face era, but not so in the tweed era. So reducing the power tube plate voltage might be the direction to go. So its a combination of the power tube selection and the plate voltage again just like the first pre-amp tube. The higher voltage on the power tube plates yields more power, and with less voltage the output power will decrease but you shouldn't be able to tell......its in the math. But I tend to use a high wattage cement power resistor inserted in series in the power rail after the diodes. Generally 500ohms may be the value to drop the voltage.....or less than 500 ohms. It depends on if the particular amp has a solid state rectifier or a tube.....the tube insert point would be off the rectifier...the wire that connects to the power rail would be replaced with the power resistor. You need a high power rated type because its going to get hot. Ideally one with a chassis mount and fins for cooling would be the type. But keep in mind that this would also be a fuse kind of thing, so if it gets too hot and burns out....the amp shuts down. SO you need the high wattage type to prevent this. SO if you do this to drop the plate voltages of the power tubes...….you'd also have to readjust all the plate voltages the whole way through to the first preamp tube again.
My personal preference is having a master volume, a 1 meg pot, in front of the phase inverter...as its a gate keeper to the power tubes...how much signal will get to the power tubes for amplification. Fender may have started with a MV in 1972, and it was a non pull out MV. To understand what is going on, when you do not have a master volume.....the signal goes through the amp to the power tubes and the volume control present on the first preamp tube is the only control. The head room of that first preamp tube in relation to the signal passing through to the power tubes and the overall loudness ….its just a single relationship and you don't have good control over the head room and "compression of the wave" passing through to the power section. The head room adjustment is affected by the plate voltage on that first preamp tube, so as you go up on the dial to "10", the wave will be growing.....both peaks on the wave. There will be a point on the dial where the wave will reach its maximum and the top of the peaks will start to "compress" and that's where the breakup point is and the over drive and distortion character. A better term for "compress" is squish.....the top of the peak of the waves gets squished down.....and if the plate voltages are set right...you'll have control on the dial as to how much you can squish it down...the breakup. Hence 225 volts on the plate has less squish. If it were a foot pedal and solid state, the signal through those electronics gets clipped off abruptly so its a squared off flat line, where as a tube squishes down and has a rounded transition rather than an abrupt clipped off top of the wave.
So without a master volume, you would be having to have the amp way loud to get to the juicy compression character which is in that first preamp tube and the single volume control for it.
With a master volume, you'd set the preamp volume up to find your break up point you like for your playing style and set your tone section......the signal then hits the master volume which is the gate keeper to the power tubes...….so you bring up the master volume to adjust your loudness.
To get into the juice of the power tubes and their distortion/compression character.....
from zero to about 3 on a master volume dial is where the power section will amplify louder and louder as you come up on the dial. After 3 and going up to around 7 or 8 is the range of the dial where you will be in the power tube zone of compression and distortion. So dialing up in that range will yield more and more dynamic but it might be subtle to your ears but its there. And from 7/8 to wide open is jimi Hendrix territory.
SO the preamp squish is passed through to the power section and it depend how loud you want to play and how much power tube juice you want. The overall loudness dialing up to 3 from zero is really the thing for loudness of the amp....as going into the juice of the amp passed 3....the loudness of the amp doesn't really sound like its getting louder like its more watts. SO overall loudness is more about selecting the power tubes...….2 6L6's types will be subjectively "louder" in watts than 2 6V6's......but it can be kind of close at times depending on voltages. SO professional players and studio players always lean on the lower wattage amps with the 6V6's.....The 6V6's have a certain kind of creamy tone to them as opposed to the big brother 6L6's, and the 5881's have a certain creamy thing as opposed to the 6L6's. If you play in a band, you want to be loud enough to hear yourself when on stage with your band members playing too.
AS for the master volume pot itself, when its wide open its 1 meg of signal separation to ground so it should not affect the quality of the signal. If there is a purest thing with issue to this 1 meg separation to ground, they do make a "no load" pot, and its finding a 1 meg one. The no load kind of drops the pot action out of the pot....as there is a small gap in the trace of the pot swing when its wide open, so there is no 1 meg to ground. But that little separation in the swing is like a dead spot on the dial you want to stay out of. Up to the drop out it acts like a regular pot.....so it separates the signal from going to ground as you dial up. So on "10" wide open, its transparent as if there is no pot in the circuit. Is it worth the trouble to use a no load pot...…?????, I would say its not worth it as most 1 meg to ground circuits are maximum signal through....its often a situation to eliminate pop of switches which carry signal as well as the scenario of the first preamp tube and the guitar signal coming in for amplification. The 1 meg distance to ground is the maximum. If you happen to have an old amp that uses a 500K pot instead of a 1 meg pot, yes there is signal still being bled off to ground with a 500K pot, so you can swap it with a 1 meg and get more gain out of that amp. The issue is that the amp was not "designed" by the designer for that in which some people go bonkers over because they do not understand electronics. A lot of the time designers actually don't play guitar and have no clue. Its kind of like a chef cooking a dish that they do not eat so they have no clue on how it tastes.
to clarify a bit further, a 500K pot doesn't separate the signal to ground enough, where as a 1 meg pot reaches the maximum potential. You can do an ear test......but point being....there are 2 meg pots and sometimes larger values. There is no difference in the ears to gain when using a 2 meg pot......the magic spot is a 1 meg pot. Electricity takes the path of least resistance to ground. What you want is a good sweep in the pot dial for adjustments......so there are pot tapers and there can be different rates of the pot taper with the manufacturer's line of pots...standard or special taper.
There is a lot to amplifiers as they are not a generic thing. Capacitors and resistor values and the materials they are made from, the voltages and the tube themselves......everything can be critical. But there can also be a factor of STRESS...the electronic stress and the thermal stress on the materials......its gets complexed.
The "classic" amps were made by companies seeking a profit and nothing to do with signal quality or specifics, so they used the cheapest sourced parts.....aand 50 years later those parts deteriorate with age. Even within the era and off the same assembly line, there was variances in the product where no 2 units would actually be the same exactly to the littlest of detail electronically.
With components of the present times, there can be more consistency in making an amp and circuitry.....and on my part its based on working with the stuff and experience of years of hands on......and being a guitar player. AND NOT BEING DEAF......which is not a reference to playing guitar at loud volume levels over an extended period of time. Keep in mind that there are old timers that were in the same room/hall of loud guitar...some have hearing loss and others do not. I'm referring to having a critical ear....
One further thing, with the RCA tube books being reprinted and available as opposed to obtaining a vintage book. In the back of the tube manual they printed circuit diagrams for different applications whether it be audio or for TV. The designs were given away free as their labs came up with them as a means to promote their tubes they sell and manufacture. This is where leo fender first got his amplifier notions on being a manufacturer. They all used existing designs from the western electric labs or from RCA......then tweaked them. The components of the time changed over the course of electronics evolution as referring to materials......vacuum tubes gave rise to solid state and transistors......and there was a push on in the industry to miniaturize …...so the bulk and size of vacuum tube circuitry was reduced with transistors, and further along the time line with solid state electronics came the IC chips further reducing size. In the Vacuum tube era, size wasn't really a consideration as it was more of a novelty that there were electronics & that science...the technology.
@@mikecamps7226 How much further do you need to go, man? The whole point of
his video is "enough." So I say, enough.
Till the fat lady sings ?@@larrygeetar9309
Great content here and in all the videos you’ve done. Thanks 🙏 I subscribed
Thanks Todd.
Got one for xmas in 1968, my first amp. It was blackface, but must have been in dealer's stock since 67. Loved it. Paired with a Univox fuzz and a Univibe. Later got an EH LPB-1 booster and added a homemade cab with 2 12". It was a rocker! Them were the days!
Sounds like a great rig!
At the peak of my GAS years I was saving for a Princeton even though my VHT Spec. 6 was way too loud according to my wife. I finally settled for a Fender Champ XD which I currently own and will not part with. Oh, yes my wife thinks it's way too loud so I also bought a Yamaha THRC 10 with a headphone jack. Happy wife, happy life.
I have the SCXD, great amp for the price.....15W is loud enough!
If a Princeton isn't loud enough, your band is too loud?
Only if you're playing classic rock lol
I have to keep mine on 2.5 through the second input and it's still too loud for my apartment.
@@thesoundchekguy If a Princeton at 2.5 is too loud, perhaps a torpedo, suhr RL, or going full digital?
I specifically chose a (very) small house to rent instead of an apartment for this reason. Even still built one of the closets into an isolation booth, in case I need to *really* crank up either of my tube amps. (a Larry Grohmann Dino and a 93 Matchless Clubman)
Reviewers need to stop referencing bar gig volume and start referencing basement show volume for amps
You did the Princeton Proud.
Always meticulously researched in exacting detail.
My first stop.
Nice to see your own amp in such a great video!
I wanted so badly to like the 68 reissue I bought, but the super cheap speaker baffle rattled like a fat hooker on a cold night. I tried tightening everything, but nothing worked. There are tons of videos on how to reinforce the baffle, but after spending $900 on an amp I wasn't about to put more money into it and void the warranty.
Sorry to hear you had a bad experience with your 68 RI. It's hard when you can't turn an amp up before you buy and most stores aren't set up to handle that...and don't get me started about buying gear online. The shipping is a killer and the returns a nightmare.
Hope you got out of it without too much pain.
If not, I'd put it in a new solid pine cab. I"ve used Pinetone and The Cab Guy (John Hinsdale). Both do solid pine with baltic birch baffles. Dead silent.
Best, Keith
Not being that much of a Fender amp fan myself, I always wondered what the differences were between black face, brown face, and silver face amps.....and now I'm still none the wiser 😆
Well maybe a little bit 👍
I'm wondering also that in these stupid days of 'political correctness' and people being triggered at the slightest thing, it wouldn't surprise me if the thought police try banning the use of the terms black face and brown face. Although to be honest I'm surprised that noone has kicked up a stink about it....or maybe they have and I just don't know about it.
Ya might be over-thinking that whole PC thing just a little.
Awesome Video Kieth.... Stay healthy, Stay Groovy!!
Thanks man
this channel is for sure in my top 5 yt channels
Thank Harry! Glad you're enjoying this stuff.
Keith
"If your Princeton's not enough (loud) to keep up with the band, then the band is probably too loud".....I'm sorry but....have you ever hear real rock n' roll hard strummin drummers? Try to match that with a Princeton....? Don't make me laugh. And please, please dont't get me wrong....I love little amps and Princeton in particular for what they are....but that's NOT enough VOLUME for a good sounding rock band.
I hear you, but I'm talking about proper PA, and maybe a drummer that is less performing than serving the tune. Sorry but if Beck can do it with Pro Juniors, and Campbell can do it with a pair of 12 watters (mic'd to high heaven no doubt). I'll stick with my statement. And we can respectfully agree to disagree, and I mean that, respectfully. God knows I wouldn't ever want to impose my ideas on someone else any more than I'd want the reverse to be attempted.
Turn up the PA, turn down the stage volume. You'll rock longer, or I should say, you'll hear it longer while you're rocking out.
@@fivewattworld Oh I didn't mean no disrepect here at all. Sorry if my comment sounded like that. I was just tryng to say....not even for playing live in stage w good or bad PA.... take it to a rehearsal enviroment, (wich I did), and well.....to get the drum sounds I like, (and many many many others), is necesary to be played at a certain level....you know what I mean....and a Princeton, wich I love how they sound, is not enough for that SPL. And I really enjoy the video, thank you. Cheers!