Compact, light and sufficiently powered.
1968 was a transitional year for Fender amps with tone that was still pure Fender but a look that was brand new. With a silver-and-turquoise front panel and classy aluminum "drip edge" grille cloth trim, t...
Ryan Adams discusses the Fender '68 Custom Princeton Reverb amp: “Hey I'm Ryan Adams and I'm trying out the new [Fender] 68 Custom amps. It’s shiny, it wants to be played. It reminds me of classic pinball machines. The nice blue light in there and clean lines. One of the things I like about it is that the volume is contained in this small box. I feel like I can push the kind of volume where I don't lose tone, and I don't destroy my own ears, and I can push the amplifier itself. The sweet spot - people will say it's different ones - but it’s around 3.5 to 4.5 is where mine kinda starts to break up naturally, and you hear the tubes kinda starting to fry the egg a little bit. I love that sound. And then I can use the guitar appropriately, and I can play much quieter. I could be playing just a voicing and just use my thumb, and then dig in and you can hear the string - I love that. I need the dynamic range. The reverb in that box, for some reason, even in these new ones it has a quality that's really hard to describe, where I can lose the signal and get a tone that has something to do with the reverb when I want, but I also can- any the guitar stabs you do, they get the perfect trail that's a tone its own self. In my mind the Princeton does this incredible thing for me where it sounds a little bit like [Johnny Marr](http://equipboard.com/pros/johnny-marr) is using [Jerry Garcia](http://equipboard.com/pros/jerry-garcia)’s rig. And something is wrong with him and he’s not playing as good as he should be, but I really like that. And also strangely reminds me of [The Replacements](http://equipboard.com/band/the-replacements) guitar tones - the tones you can hear that make sense on the *Tim* era. And some of that could have been the production or whatever but when you really wanna put just a little bit of an overdrive on a Princeton, you don't have to use much. I will not use any amp but a Princeton on any record ever, and have never - ever. Not since 2005. It’s just my amp.”more
In this video hosted by the [Sjónvarp Víkurfrétta YouTube Channel](https://www.youtube.com/channel/UCBrRCG2CpWU5B3ocR6QycdQ), Brynjar Leifsson and Nanna Bryndís of the band Of Monsters and Men cover the song "Kids" by MGMT. In the entire performance, Brynjar simply plays his Gibson Les Paul into a '68 Princeton Reverb Amplifier.more
For their 2018 tour, Tad states that he's rented a '68 Custom Princeton Reverb and Supro 1964 Reissue Saturn Reverb Tad: “At home, my Bradshaw board is rigged so I can have four switchable outputs so that I can use four different amps. I’ve got a ’57 Deluxe, a ‘Bob’ amp - which our old sound guy built for me - and an AC15 and on each output it’s got a lift and a polarity. These are rentals. I like smaller wattage combos, so I got the Princeton and I thought I’d try this Supro. I want to turn on the amp and hit the fucker as hard as I can and leave that to make the sound. I don’t like something with a master volume. So I usually aim for something that’s 15-watts.”more
Compact, light and sufficiently powered.
1968 was a transitional year for Fender amps with tone that was still pure Fender but a look that was brand new. With a silver-and-turquoise front panel and classy aluminum "drip edge" grille cloth trim, the Princeton Reverb received a fresh new face as it remained the perfect recording and gigging amp. Small, light and moderately powered, it produced big tube tone, with world-class Fender reverb and vibrato effects. For countless guitarists ever since, the Princeton Reverb has been the go-to amp for classic Fender sound.
The '68 Custom Princeton Reverb Amp pays tribute to the classic look, sound and performance of Fender's late-'60s "silverface" amps. In a special twist, a modified tone circuit gives modern players greater tonal flexibility with pedals, and the amp's reduced negative feedback gives greater touch sensitivity and quicker onset of overdrive. The '68 Custom Princeton Reverb's single 10" Celestion TEN 30 speaker also delivers a more distinctively rock ˜n' roll flavor.
Comes equipped with Celestion Speakers (30-Watt speakers) for a more modern, punchy sound that breaks up nicely when pushed. It features reduced negative feedback for a more "touch-sensitive" feel, quicker break up and added harmonic richness.The 68 channels are wired in phase and can be blended for more tonal options, via A/B/Y box. "Custom" channel features a 50s Tweed "Bassman" tone circuit for more low mids and sooner breakup. ˜65 Reissues have the same "Blackface" tone circuit on both sides. The 68 Princeton Reverb has only one channel so it features the "bassman" tone circuit.
Who's it for: Players that love their amps to break up a little sooner, rock players, alternative players that like something a little different, players that use pedals, and players that love the look of "Silverface" amps.
I've been playing boutique stuff for a bunch of years and when I went back to a stock Fender amp I was blown away. It was actually the sound I had been missing.
My favorite big amp setup that I ever had was a Vox AC30 and a Fender Bassman. I feel like I've come full circle in a much smaller package. I'm now a Blues Jr and a Fender Princeton. The combined 27 watts of power sound fantastic together.
I love this amp so much. The reverb and tremolo on it are so beautiful even the small size and power are still hefty for small places, most places will just mic up anyways. The tone and vintage sound to the amp make a guitar sing like it's supposed to. Would recommend to those looking for a great vintage amp.
this is a little thicker and more present sounding than the '65 Blackface - it packs a punch, I play it on 4-5 on the volume, with a Fender guitar its clean, dig in and it opens right up. I love this amp - Just think Ryan Adams..... great studio amp and a small gigging machine