uriahdeath's Reviews

The addition of the Brown Western Tolex and 12" Jensen speaker make this the best sounding PRRI and most beautiful.

This is a 65 PRRI with 2 differences. 1. The 12" Jensen which makes it sound a little bigger and warmer. 2. The Brown Western Tolex which (to me) makes it one of the most beautiful amps ever made. These are 12 watts like any other 65 PRRI and have a beautiful sounding reverb and tremolo.

With a PRRI, a handful of pedals (or not) you have one handy easy to carry small amp that's big enough for a small church/club and can easily be miked up for bigger venues (depending on stage volume).

I use this PRRI most of the time for playing old rock (think surf or 50s rock), old country, jazz, really music from the 40s to 70s. It does just fine. For 70s country for example, I'll add a phaser and compressor and it's there. For surf, crank up the treble and volume to the edge of breakup. Lots of reverb. Beautiful. I grew up using Princetons and the newer stuff sounds as good as my old amps even if they're not hand wired.

Very good sound quality for the price of the unit.

I don't use this for it's full potential but rather to get extra (mostly clean) sounds for my amp. I do use the treble boost/overdrive/occasional fuzz but 90 percent of the time I use it clean. I use the pitch shifter (with the pedal) to mimic a Bigsby on my non-trem guitar for example. It does a passable job. I also use the compressor and phaser a lot for 70s country tones, chorus for 80s clean rock/jazz, ect...

The majority of the time it's running into a pair of Fender Princeton Reverbs. These are great bargains used, I got mine for $150.00 and there is little that can compete with it at that pricepoint.

Other then the fact it's made in Mexico, I really like this little amp... although mine is slightly modded.

I've had 2 amps with this Celestion Ten 30 in it. I'm not a fan. This 68 Custom Princeton Reverb and a Marshall DSL5 both had the same speaker (the Marshall is 16ohm I think). With humbuckers it had kind of a farty low end and shrill on the highs. I played it a few months and bought a used Celestion 10 Gold which was a 100 percent improvement. I play most of the time clean (old 50s, 60s country and traditional jazz) and it was a huge improvement.

The only other mod (besides some different old NOS preamp tubes I had) was adding a midrange pot. When it's on around 6, it acts like the stock Princeton, but moving it in either direction mades a noticeable difference in tone.

This is the third Princeton I have right now, I've got another 65 PRRI with the 12" and western tolex, and a origional 1979 that's all stock other then a replacement 10" Jensen that was reconed years ago. They all sound a little different, this one is probably the most versatile AND the loudest out of what I have... due to a more efficient speaker.

I LOVE the reverb and tremolo on this one. It's a fine sounding little gigging amp suitable for small churches, or coffee houses/jazz clubs (not that we have many JC's where I am), and country stuff. With the Celestion Gold, it'll get louder and stay cleaner easily keeping up with an average drummer. If I need more volume, I simply run one of my other Princetons in stereo and problem solved. The stock Celestion Ten 30 would break up much quicker but to me, not in a musical way.

I was going to go with a 12", but after playing with the new speaker a few months, I doubt I'll ever change it. It did add a few pounds to the amp, but it's still plently light enough for an all tube combo.

I also use a Boss MS-3 with this, sometimes on a board with a couple pedals, but usually alone. With the Boss, I can turn the reverb and tremolo on and off (or within a patch), and have a few effects I use such as a compressor, phaser, delay, treble boost, and much deeper space type reverbs occasionally. Plus, the built in tuner and I can easily stick the MS-3 in the back of the amp making load ins/outs a breeze.

I wouldn't pay the going rate for a new 68 Custom Princeton, but if you find a used one for like $600.00 like I did, it's a real bargain, even with the few mods I've done. Splendid little amps.

Not had many loopers but really like this one. Does what I need one to do.

The half speed and reverse is fun to play with but this is a great live tool. I can save several loops in memory and use it when I'm doing one man shows. I'll record pads or organ into it to play back live, and it's a good learning tool. I'm sure they have better loopers but for my purposes this thing works great so I'll probably use it until it dies.

I should give this 1 star to try to keep the prices down on these.

These amps are incredible bargains right now. They're pretty bulletproof and if you look around can find these super cheap. Completely unloved. The oldest ones are almost 22 years old (mine is a newer SE, still 11 or 12 years old at least). Some came with an optional midi floorboard that lets you do alot of stuff you can't do otherwise with the 4 button footswitch which will let you change presets. It also has another 1 button footswitch (usually missing) that can turn effects on/off.

The motorized knobs are a sight to behold. They still work flawlessly and truely a marvel to watch in person.

The CyberTwins are not exactly modeling amps, they have a tube preamp (solid state output section) and the way they work is, ah, fairly insane. It has configureable analog guts (and of course digital as well) but the amp basicly rewires itself when you change sounds, you can hear the relays clicking and the motorized knobs do their thing.

I mostly play jazz/country these days. Still some old 70s hard rock and fusion as well. It handles it well. I almost always use it for the Fender sounds. LIke the Twin, although with THIS twin you can have stereo ping pong delay, or stereo chorus or tremolo unlike a real Twin. It also does a swell job of doing a JC120.

Once you get the hang of using this, you can get all kinds of tones out of it, or really hone the tone you want. I can't really get an exact Polytone sound (like from a 102) but that's not the CyberTwins problem.

I've got 4 patches in memory. 1. Acoustic, I can make my Les Paul sound like an acoustic electric. 2. bright deluxe reverb sound I use for 70s country with reverb and I add a phaser I can kick in and out for the Waylon thing. 3. a BIG jazz tone with a little reverb and chorus using a Fender Twin model. 4. a generic 70s hard rock tone (think early Priest, Heep, Purple, Sabbath).

I really enjoy this amp and it cost less then some of my pedals. They were about $1600.00 (plus floorboard) when they came out years ago.

Cool (not so little) 3 in one pedal, a distortion/overdrive/fuzz/octave multieffect unit.

This is an upper octave Octavia (think Hendrix), a 6 position fuzz and a generic style overdrive that can run off 9-18 volts (for more headroom) and has a clean direct out along with the processed/distorted one. That comes in handy for feeding stuff you don't want saturated. The OD is kind of a bland TS808 style, the Octavia is cool but I like the one in my Foxfox Octave way way better. The fuzz is again, not all that exciting. You can turn each effect on/off with its own footswitch or blend them all together to created sonic chaos.

I love these amps, great weight, power, as loud as you'd need in most cases for jazz or traditional country

I'm a long time Princeton junky. My newer PRRI is a very good amp. It's got the factory Celestion Ten speaker that sounds really nice. Loud (and clean) enough for live gigs/church use but you might have to mic it up. Nice reverb and tremolo. I don't use the reverb that much live since most rooms already have enough for me, but it's nice in the living room, or for doing surf. I love these for the weight and ease of carry. You can use them from the living room to the stage. No idea why they don't make more amps like these.

Digital or not, one of the best pedals you can run in front of your old Fender tube amps like Deluxe or Princeton Reverbs

I ignored these things for years. Too much gear around to worry about a Zoom Multistomp. I a Boss GT100 and also have a Boss GT1000, and just returned a Zoom G11, and replaced that with a smaller Zoom G6. I wanted a SMALL multi I could stick in my guitar case and use for a guitar preamp, tremolo and reverb, and also had a tuner. This delivers. You can easily download more effects.
I use it with a Whirlwind and plug it directly into a XLR into the board. Almost always clean, I use use a Fender Twin type preamp, (NOT into the front of my amps, just into the Whirlwind) one of the various reverbs (but usually Spring), and tremolo. I set it up to where I can footswitch the tremolo on and off, but I can also make a couple patches and cycle through them. I usually don't bother since all I really need is one core tone for most of my sets.

Normally I'll have one of the floor running into a Fender Princeton Reverb (which has it's own reverb and tremolo that sounds great), and use it for the tuner and like a Univibe or Delay. If I have 2 amps, I can run it stereo and ping-pong which sounds pretty cool in a small church. I doubt it would work that great in large venues but I mostly play small churches, nursing homes (where nobody really cares about tone), and the like .

At home I use an adapter to power them, but when I'm playing out I just use rechargable ni-cad batteries so I can stick them whereever I want and have one less thing to worry about.

I set up a handful of patches I can scroll through. I can make my Les Paul (or ES175) sound more like an acoustic OR use the parametric EQ to make either sound more Teleish. Then I can use one of those patches and add the compressor and light overdrive or phaser for that outlaw 70s Waylon sound. Then hit it again for one that makes my Princeton sound more like one of my Polytones. Or kick in the Leslie patch. I can show up at a gig with a guitar, amp, and this MS50G and be ready to play whatever I need for the show. Although I now have a Boss MS3, I STILL use my MS50G in one of the loops to continue to use some of the patches I created that I really like.

Not all the sounds are absolutely great, but enough of them are to easily justify the price. Especially for what the go for used. I primarily play jazz, gospel, and old country. So for me, the compressor, reverb, tremolo/vibrato/vibe, tuner, phaser is worth the price of admission. Once it's set up it keeps me from lugging one of the big multieffect units or a bunch of pedals. And all for not for much more then a decent tuner costs.

I LOVE this little amp. No reverb but dig the western tolex!

Mine has the Western Tolex and 10 inch Celestion. It has channel switching but shares an EQ. Also has a midshift and bass boost (neither that I use), an effects loop on the back and a switchable 1 watt/5 watt switch. Not a lot of clean headroom but enough to mic up on a chair at church, or it also has a 1/4 out that I run to a Whirlwind then into one of the XLR mic jacks.

Mine also has the super cool Western Tolex. I usually run a Zoom MS50G in the loop for the reverb and tremolo making it sound simular to my Fender Princeton Reverb (also with Western Tolex). Most of the time I place a Gibson ES135 into it playing Western Swing, Jazz, Country, older Rock and Roots Music.

It can keep up with a lighter hitting drummer but not completely clean. For bluesy stuff or swamp rock it does dandy. For loud and pure clean, mic it and listen to your monitors. I run it stereo with my Princeton Reverb alot, the princeton is around 12 watts and this is 5, so I'll have 17 watts of blazing fury. This thing is fairly light and a great home practice amp.

I've used this pedal for over 25 years, it's stlll chugging along nicely.

I've got 4 of these things, someday they'll all die but so far they're still going fine. They can be used for a clean boost, light overdrive, metal type (almost Big Muffish) distortion. Back in the early 90s they didn't really have anything like this. Not from one pedal unless you got one of the cheesy multieffects available at the time. They're made from a fairly light sheetmetal case and not exactly on the small side but they function fine. 2 of mine used to do battle in various metal bands and they're still alive. They've been walked on a bunch, tripped over, had the jacks ripped out, a little solder and good as gold.

It's a cheap cheezy bass amp but it does what it needs to.

It's a cheap Chinese Behringer bass amp I got for like 50 bucks to use with my Squier VI at church. Since my Fender Rumble died (lighter, louder and sounded way better) this is the current replacement. It's built out of concrete I think.

Had this amp almost 30 years.

It's all solid state, Reverb, Chorus, 2 effects loops (one stereo), channel switching with boost, 4 button footswitch, made by Dean Markely for Gibson (Labs). Back in the 80s/90s stereo amps were all the rage. Roland started it then Ampeg, Crate, Peavey, even guys like Rivera with the S120 had stereo amps and that's not including all the rack rigs.

I still use it, it still sounds good. Of course most of the modelers of the last 20 years can do everything my GRC70 can, but after almost 30 years of ownership I won't be trading it in anytime soon. It's my old dependable Timex of an amp.

Great pedal, and one of the very best companies I've ever used.

I had my Octron for several years and the pots started going bad. Knowing they have a lifetime (Dave's the owner I assume) warrantee I contacted him, sent it back and now it's good as new again. He put it in a new box, send some stickers, pics, outstanding service.

Anyway, this can send a boosted (or cut) direct signal. I occasionally just use it as a boost. Then it does the upper octave Hendrix thing. You can blend the upper and direct together and/or add bottom to it. You can use this to do bass lines, searing upper octaves or simply as a boost pedal. The fun of course is trying to do all 3 at once.

This thing is all analog, when you compare it side by side to most of the digital units it's apparent the tracking on this is outstanding and so is the tone.

Probably my favourite Phaser pedal, ever.

I bought this used from a Pawn Shop like I buy many things. Read some reviews on my phone, didn't get much excited until I took it home and put it in my amps effects loop. This thing is SIMPLE. A footswitch, a pair of buttons and a speed knob. I use it for 70s style country (Waylon, Jerry, ect...) and for a suble 70s style Leslie sound some of the jazzcats used back then.

This pedal is small, runs off a power supply only and works just as good as a full sized pedal. It'll do both 45/90 sounds with a matching LED telling you which mode you're in, and a amber LED to let you know if you're in Script mode, which is a mellower more vintage sound. It also has a BRIGHT blue LED that lets you know it's engaged. The LEDs also pulse to the beat of the Phase 95 if the unit is engaged or not. It'll help light up a dark room.

I have some processors like a Boss GT100, GT1000 and Zoom G11 and still prefer the tone of this little MXR Phase 95. I usually use it in the loop my my processor instead of one of the built in phasers they provide.

It looks like a Telecaster, but that's where the Telenish ends. This is a full on Baritone metal machine.

First, I'm not a fan on the pickups. They're EMG actives and super high gain. I'd like to try some more PAFish passive clones to see it it transforms the guitar. Not that the factory EMGs sound bad, I'm just wanting something DIFFERENT since I don't play much metal these days. It's a setneck with a tuneamatic bridge, string though body construction and a 27" scale. The neck pickup is really the middle pickup. I'm assuming they did that to keep it from sounding like a bass (with the scale) and it seems to work.

I got this to use with extended range jazz but the clean is very clinical. With gain this thing shreds, but I don't think Stephen really cared about the cleans. I'm running D'Addario 11-65 XL Chromes on it and they seem to work great for me. They're flatwond strings which is my usual preferance. They take out a little of that high end and mellow this guitar out a little. And I just like how they feel, easier to slide around with almost no string noise. Maybe not good for pick scraps but I havn't done them since the 90s anyway.

Still looking for some 7 string passive pickups that'll do what I want. I think this guitar can became a mean jazz machine with a little work.

Probably the best nylon string guitar I've owned, and it has a killer preamp.

I know they have nylons that are way better then my Takamine but this is personally the best one I've had, or need. It's made in Japan, has a programmable preamp with a really nice sounding built in reverb and tuner. Plays super easy. The body is slightly smaller then most and less boomy. For the few hundred these go for used, the sound and quality is hard to beat.

This for me is definately a keeper guitar.

These make a decent budget (for USA made) ES175. Great for jazz, old country and rock.

Disclaimer: I love this guitar. It's a semi-hollowbody (not a full hollow) that SOUNDS like a hollowbody. While it looks like a ES-135 with the cutaway, they're completely different guitars. A ES-135 is basicly a Les Paul dressed like a 175. The ES-135 is basicly a thinner ES-175 with a chunk of balsawood to keep it from feeding back at high volumes. While it don't sound exactly like a 175, it's very very close, and even moreso considering the construction.

Gibson being Gibson made a few different ES-135s. Mine is a 2000 (Custom Shop, even) with the Gibson Classic pickups and the factory Bigsby. I usually use Black Diamond Pure Jazz 12-52s which give it a really woody classic jazz tone. It also works well for traditional country and rock. This guitar sounds a little bright to me with regular roundwound strings. Not bad, but not the tone I like for the music I play on it.

When I die I'll probably still own this guitar and my Les Paul. With my Takamine Nylon string, that's really all I need.

Like it almost as good as my former Roland Cube.

This is a cool little portable battery powered amp that I usually take camping with me. It replaces my Roland Cube which was also portable and battery powered. The Boss Katana Mini will do clean to high gain and has a built in delay. Why delay? No idea, I'd have preferred reverb but the delay sounds fine. The Katana Mini sounds far bigger then it looks (or feels). One day I need to take it to church and mic it up to see how it sounds on the board, have yet to try that.