Fact-checked by Grok 2 weeks ago

Fender Princeton

The Princeton is a legendary line of compact, low-wattage guitar combo amplifiers produced by Fender Musical Instruments Corporation, celebrated for delivering pristine clean tones, dynamic headroom, and exceptional portability that make it ideal for home practice, , and small performances. Introduced in 1946 as an entry-level "student" model in the original "Woodie" series, it featured a simple 6-watt design with an 8-inch speaker and a single volume control, evolving rapidly into a versatile staple through multiple design eras. Over its production run, which spanned until 1981 before reissues in the , the Princeton progressed through distinct cosmetic and circuit phases, including the warm, gritty era (1948–1960) with cathode-biased output tubes; the transitional Brownface period (1960–1963) introducing fixed-bias operation and bias-modulated for a more robust 12-watt output; and the iconic era (1963–1967), where the Princeton Reverb model added spring reverb and tube-driven , powered by two 6V6GT tubes, a GZ34 , and a 10-inch or Jensen speaker for chimey, touch-sensitive response. Later Silverface iterations (1968–1981) refined these features with updated aesthetics and electronics, maintaining the amp's reputation for reliability and tonal purity at around 12 watts. What sets the Princeton apart is its single-channel simplicity—typically with volume, tone, reverb, and controls—paired with a cathode-follower or cathodyne phase inverter that allows for everything from sparkling cleans to smooth when pushed, making it a favorite for genres like , and . Its modest power and 10-inch design ensure it breaks up gracefully without overwhelming volume, contributing to its enduring appeal in professional recording; notable users include , who owned a 1968 Silverface model, Steve Lukather for early sessions, and Larry Carlton on landmark albums with and . Modern reissues, such as the '65 Princeton Reverb, faithfully recreate the circuitry with a Jensen C10R , long-spring reverb tank, and footswitchable effects, preserving its status as a for boutique and vintage-inspired amplification.

History

Development and introduction

The Fender Princeton amplifier originated from the innovative work of , the founder of Electric Instruments, who served as the primary designer during the company's early expansion in the mid-1940s. In 1945, Fender partnered with electronics expert Clayton Orr "Coke" Kaufman to form K&F Manufacturing, which dissolved in 1946, leading to Fender's independent operation and the Princeton's development. Fender, initially operating a radio repair shop in , began transitioning into manufacturing guitar amplifiers to meet the growing demand from musicians in the post-World War II era. With early input on tube circuitry from Kaufman, a former Navy technician, Fender aimed to create compact, reliable amplification for electric guitars that could be produced efficiently using available resources. Introduced in 1946 as a low-cost "student model," the Princeton was designed to provide affordable practice amplifiers for aspiring musicians, reflecting Fender's vision of democratizing access to tone at home. Positioned above the smaller , which was introduced later in 1948 and produced about 5 watts, it targeted beginners and hobbyists seeking simple, dependable performance without the complexity or expense of larger professional amps. This entry-level offering was part of Fender's broader strategy to build a of amplifiers that catered to various levels and uses, emphasizing portability and ease of maintenance. The development of the Princeton was heavily influenced by the post-WWII economic landscape, where surplus military parts like and transformers were readily available, enabling cost-effective production. This context led to its initial wooden construction and modest 6-watt output, which provided clean, articulate tone suitable for practice sessions while keeping manufacturing simple and affordable. As evolved from a repair-focused business to a full-fledged manufacturer, the Princeton's first public demonstrations occurred at trade shows and music stores in the late , marketed as an accessible tool for the burgeoning market.

Production timeline

The Fender Princeton amplifier entered production in 1946 at the company's facility under the direction of founder , with the initial "Woodie" models featuring wooden cabinets produced in small quantities for about a year and a half. These early units were basic student-oriented designs, hand-wired by a small team, reflecting the nascent scale of Fender's operations at the time. Production transitioned to the Tweed era from 1948 to 1961, marked by tweed-covered cabinets and a scaling up of manufacturing volume as demand grew among musicians. Circuit variations emerged during this period to refine tone and functionality, including the 5C2 model introduced around 1955, which incorporated a cathode-biased gain stage for improved headroom. All Tweed Princetons remained hand-wired, with output typically around 4-5 watts, and the Fullerton factory handled assembly as Fender expanded its lineup. The Brownface era followed from 1960 to 1963, introducing brown Tolex covering and an increase in power output to 12 watts via a dual-6V6 configuration, alongside bias-varied . This short-lived phase represented a bridge in design aesthetics and circuitry, still produced at Fullerton with hand-wired construction. Peak production occurred during the Blackface era from 1963 to 1967, characterized by black Tolex and control panels, with circuits such as the AA763 and AB763 enabling enhanced tonal versatility. The Princeton Reverb variant was introduced in 1964, adding spring reverb to the lineup. Output remained at 12 watts, and manufacturing continued at the Fullerton plant under hand-wired methods until the mid-1960s. In 1965, CBS acquired Fender for $13 million, shifting ownership from and initiating cost-focused changes that affected production consistency and component quality. The Silverface era spanned 1967 to 1981, featuring silver-and-turquoise control panels and minor updates, including a switch to printed circuit boards (PCBs) for efficiency and the adoption of different tube rectifiers, though power stayed at 12 watts. Some late-1970s Silverface production was outsourced to amid financial pressures, but most units originated from Fullerton. Tube-powered Princeton models were discontinued in 1981 as prioritized cost-cutting and pivoted toward solid-state s, ending the original run after producing several thousand units across all eras.

Design features

Electronics and circuitry

The Fender Princeton amplifier employs a tube-based electronic centered on a single-channel signal path, utilizing vacuum tubes for preamplification, power amplification, and rectification in its core circuitry. Early models from the Tweed era (1947–1960) operated in Class A single-ended configuration with a single power tube, delivering approximately 4–7 watts of output for intimate performance settings. This setup provided a simple gain structure with one or two preamp stages, emphasizing natural harmonic distortion at low volumes due to the inherent limitations of single-ended operation. In 1961, the circuitry shifted to a push-pull Class AB output stage with two power tubes, increasing output to around 12 watts and introducing greater while maintaining the amp's responsive characteristics. This change, implemented in the 6G2 Brownface model, utilized a fixed-bias scheme on the power tubes for stable operation, supplied via a dedicated winding on the power . The standard tube complement across most post-1960 models includes two power tubes; non-reverb models typically use two (or 7025 equivalent) preamp tubes for voltage gain stages—typically providing 50–100x amplification per stage—while the Princeton Reverb uses three and one ; and a tube, initially a 5Y3 in and early Brownface versions, later upgraded to a GZ34 in models (with some late Silverface using 5U4GB) for reduced and improved headroom. The preamp stages feature cathode-follower buffering in some configurations to drive the tone stack, contributing to the amp's mid-forward tonal profile with controlled bass response. The phase inverter is typically a cathodyne type using one of a . Circuit evolution progressed from basic volume and tone controls in the original Woodie and designs to the addition of bias-wiggle in the 1961 Brownface era, where the bias of the power tubes is modulated for amplitude variation controlled by speed and intensity knobs. By 1964, the Princeton Reverb incorporated a -driven spring reverb circuit using an additional as a recovery paired with an Accutronics type-8 spring tank, enhancing the amp's versatility without significantly altering the core signal path. The power supply remains transformer-based, accepting 120V AC input and delivering high-voltage B+ (around 300–400V) through the to the output stage, with filtering for low ; efficiency in the push-pull design hovers around 40%, typical of beam-power configurations. This setup integrates with an 8-ohm speaker load for optimal , ensuring efficient power transfer. The resulting tonal profile emphasizes clean headroom at moderate volumes, with a midrange emphasis that transitions to natural overdrive as the low-wattage output stage compresses, offering articulate chime and touch-sensitive response ideal for studio and small-stage applications. iterations refined this with scooped mids, tighter low-end control, and sparkling highs, while the overall design prioritizes simplicity and reliability over complex effects processing.

Physical construction

The Princeton's physical construction emphasizes portability and durability, with designs that evolved to balance , protection, and ease of transport across its production eras. Initial "Woodie" models from utilized open-back s constructed from solid , including blonde , black , dark , or , which provided robust enclosure for the amp's components while weighing under 20 pounds for straightforward mobility. During the Tweed era (1947–1960), cabinets shifted to open-back fiberboard or finger-jointed pine panels covered in textured tweed fabric, typically measuring around 16¾ inches high by 18 inches wide by 8¾ inches deep, resulting in weights of 20–25 pounds that facilitated on-stage handling. The Brownface period (1959–1963) introduced protective brown tolex vinyl over similar solid pine or structures, with dimensions approximating 16½ inches by 19 inches by 9 inches, enhancing resistance to scuffs while maintaining the amp's compact footprint. (1963–1967) and Silverface (1968–1981) models standardized black tolex coverings on or cabinets, often around 16–20 inches high by 19 inches wide by 9½ inches deep and weighing 25–30 pounds, optimizing for professional use without sacrificing tonal projection. Speakers in early Woodie and models featured an 8-inch Jensen with field-coil or permanent-magnet design and 8-ohm impedance, delivering focused suitable for small venues. Later , Brownface, , and Silverface variants upgraded to a 10-inch configuration, commonly 10L5, 10J4, or Jensen P10R models at 8–16 ohms, which expanded low-end response while preserving the amp's efficient power handling and compatibility with standard circuits. Control panels incorporated knurled "chicken-head" knobs on and Brownface models for tactile , , and adjustments, paired with oxblood or wheat-colored grille cloth. and Silverface iterations adopted aluminum grille cloth with witch-hat knobs, and footswitch for and reverb functionality were integrated starting in 1964, enabling remote operation without altering the amp's portable profile. Construction techniques progressed from hand-wired point-to-point in Woodie, , and early models through 1965, ensuring reliable connections and serviceability, to eyelet-board thereafter for streamlined . Vinyl coverings varied correspondingly, from brown tolex in Brownface to black in Blackface and Silverface, applied over finger-jointed pine or plywood for consistent structural integrity. Durability enhancements included metal corner caps on cabinets from the 1950s onward to guard against transport damage, alongside vibration-resistant transformers mounted to minimize and ensure longevity in gigging environments.

Model variants

Early models (Woodie and Tweed)

The Princeton's earliest iteration, the Woodie model, debuted in spring 1946 as the smallest offering in 's initial lineup, designed primarily for student use with steel guitars. Producing approximately 6 watts from a simple three- configuration—including a 6SC7 preamp , a power , and a 5Y3 —it featured rear-panel volume and tone controls along with two input jacks. The utilized an 8-inch Jensen field-coil housed in a compact , often finished in blonde , black walnut, or , with a cloth grille secured by three vertical metal strips and a wooden handle. Only about 100 units were built over its roughly 18-month production run ending around , making it one of the rarest amps today. In 1948, the Princeton evolved into the Tweed narrow-panel variant, adopting a in the distinctive "TV-front" style that persisted until 1954. This design introduced essential controls—a volume knob and a tone knob—while maintaining a low-power 5-watt output via a single power , paired with a 6SL7 or 6SC7 dual-triode preamp and a 5Y3 . The circuit, designated 5A2 in later iterations, included a compact open-back with an 8-inch speaker, emphasizing portability for practice and small performances. Enhancements over the Woodie included improved shielding and component reliability, though early versions retained metal-cased for cost efficiency. The Tweed wide-panel Princeton, produced from 1955 to 1960, marked a cabinet redesign with broader top and bottom panels for greater structural integrity and a slightly larger footprint. Centered on the 5C2 circuit, it maintained a low-power 5-watt output via a single 6V6 power tube in single-ended configuration, paired with a 6SC7 preamp tube and a 5Y3 rectifier. An 8-inch speaker remained standard, often a Jensen or Oxford model, and the control layout included volume and tone. Subsequent circuit refinements, such as the 5F2-A with a 12AX7 preamp, prioritized punchier dynamics and reduced hum through better filtering while retaining the single-ended 5-watt design. Thousands of Tweed Princetons were manufactured across these variants, with ongoing tweaks to components like transformers enhancing reliability without altering the core low-wattage ethos. These early models delivered a signature warm, raw overdrive characterized by natural compression and touch-sensitive response, stemming from the use of paper-in-oil coupling capacitors and minimal filtering that allowed tube sag under load. The simple circuitry fostered a gritty, interactive ideal for intimate settings, setting for the Brownface models' power upgrades in the early .

Brownface and Blackface models

The Brownface Princeton, produced from 1961 to 1963, represented a transitional design in Fender's lineup, building on earlier circuits with enhanced power and effects. It featured the 6G2 circuit, delivering 12 watts through a using two 6V6GT power tubes. The preamp employed a 7025 high-mu twin for the first stage and a for subsequent gain and duties, paired with a 5Y3GT . Covered in brown tolex with a matching grille cloth, the amp included built-in via modulation but lacked reverb, and it loaded a 10-inch for compact, articulate tone suitable for practice and small venues. A short-lived Tuxedo variant appeared in 1963 and 1964, blending cosmetics—such as a black control panel and tolex—with the underlying Brownface 6G2 , serving as a bridge during the cosmetic shift at . This transitional model retained the 12-watt output, , and 10-inch speaker of its predecessor but adopted the emerging aesthetic for a more modern appearance. The non-reverb Princeton, manufactured from 1963 to 1967, utilized the AA763 and AB763 circuits, offering improved clarity and control over its predecessors. It provided controls for volume, treble, bass, speed, and intensity, enabling precise tone shaping while maintaining high clean headroom that allowed for dynamic playing without early breakup. Powered by dual tubes at 12 watts and fitted with a 10-inch , this single-channel amp emphasized pristine cleans with subtle harmonic overdrive when pushed. Introduced in 1964 and produced through 1967, the Princeton Reverb expanded on the non-reverb model by incorporating a tube-driven reverb tank and dedicated reverb control, alongside the existing circuit. It featured an additional preamp tube to drive the reverb send and recovery stages, enhancing sustain and depth while preserving the single-channel design for straightforward operation. The AA1164 circuit powered this configuration at 12-15 watts through dual tubes and a 10-inch , delivering versatile tones from sparkling cleans to blooming reverb tails. A key innovation in 1964 was the introduction of footswitchable and reverb effects, allowing performers to engage or bypass them onstage for greater flexibility.

Silverface and later models

The Silverface era of the Fender Princeton, spanning from 1967 to 1981, introduced a distinctive silver control panel in place of the previous design, along with updated grille cloth and aluminum trim for a more modern aesthetic. These models maintained a -based configuration with a power output of approximately 12 watts, driven by two 6V6GT power tubes and a such as the GZ34 in early versions or the 5U4GB in the 1970s, preserving the amp's characteristic sag and compression. The circuitry remained largely faithful to earlier designs, featuring a single 10-inch speaker in a compact combo cabinet, though component substitutions over time contributed to a brighter, less warm tonal profile compared to predecessors. In 1978, Fender implemented a minor circuit modification by adding a push-pull boost switch to the volume potentiometer, which injected additional gain by routing signal from the reverb driver tube, providing extra overdrive without major alterations to the overall schematic. This feature aimed to enhance versatility for lead tones but was often critiqued for its harsh character. Ultra-linear output transformers, which increased headroom and clarity, were not standard on Princeton models during this period, as they were primarily reserved for larger amplifiers like the Twin Reverb. The Princeton II, produced from 1982 to 1986, marked a significant departure as Fender's final tube-based iteration under ownership, featuring a redesigned (PCB) layout that altered the voicing to a cleaner, more modern profile with reduced midrange scoop. Equipped with a solid-state for improved reliability and a 1x12-inch in a smaller , it delivered around 22 watts, signaling the end of for the line amid cost-cutting measures. Following a brief hiatus, revived the Princeton name in 1988 with the solid-state Princeton Chorus, a stereo produced until 2001 that shifted away from warmth toward effects integration. Rated at 25.5 watts per channel with two 10-inch speakers, it incorporated DSP-based stereo chorus, Accutronics spring reverb, and an overdrive channel, initially manufactured in the until 1991 before moving to . This model emphasized lush, ambient tones suitable for clean and effects-heavy applications, reflecting the era's pivot to solid-state efficiency.

Reissues and modern versions

In 2000, introduced the '65 Princeton Reverb reissue as a faithful recreation of the classic AB763 circuit, delivering 12 watts of tube-driven power through a 10-inch Jensen and assembled in the . This model emphasized the original's clean headroom and dynamic response, making it ideal for both practice and studio use while preserving the iconic silverface aesthetics. The 2006 Princeton, styled after designs, incorporated an overdrive channel for added versatility and focused on recording applications with its 15-watt output, catering to home and professional producers seeking compact tube tone. An updated Princeton Reverb reissue arrived in , featuring refinements to the reverb tank for enhanced spring-like decay and improved circuitry for more authentic modulation, all while retaining . In 2022, launched the Tone Master Princeton Reverb, a solid-state modeling that emulates the original's circuitry with 50 watts of output simulating a 12-watt amp, digital recreations of spring reverb and effects, and a lightweight design weighing just 11.5 kg for easy portability. Current production of Princeton models continues at 's facility in , with boutique hand-wired variants available through the Custom Shop for customized builds.

Cultural impact

Studio and recording use

The Fender Princeton's 12-watt output and 10-inch speaker configuration have made it a preferred choice in recording studios for delivering balanced, clean tones that integrate well without overpowering microphones or other instruments in the mix. This modest power level allows for precise control during tracking sessions, where the amp's dynamic response captures nuanced guitar articulation at lower volumes, avoiding the harshness sometimes associated with higher-wattage models. The Princeton Reverb model, introduced in the mid-1960s, enhanced its studio appeal with built-in tube-driven spring reverb and effects, which proved ideal for genres like , , and pop during that era. These features provided ambient depth and subtle that blended seamlessly into recordings, contributing to the amp's role as a versatile workhorse for session work across these styles. In professional and home studios alike, its low volume facilitates direct tracking without excessive bleed, while the inherent headroom supports the use of pedals for added gain or effects, enabling layered overdubs in rock productions. The Princeton's design also influenced subsequent amp innovations, notably serving as the starting point for the , where modifier Randall Smith installed a Bassman output into a Princeton chassis to achieve higher gain while retaining its core clean platform. Across genres, it found favor in early Nashville country sessions for its chime and clarity with Telecaster guitars, in rock for clean overdub layers that sit well in dense mixes, and in for precise articulation on archtop guitars. In modern studios, reissues like the '65 Princeton Reverb maintain this legacy, offering authentic vintage tones that integrate into digital workflows via direct outputs or mic'd setups, prized for their portability and compatibility with contemporary production tools.

Notable users

Session guitarist Louie Shelton, a key member of the Wrecking Crew, extensively used a modified 1969 during and 1970s recordings, including hits like the Jackson 5's "ABC" and ' "Lowdown." This amp's low-volume capability allowed it to cover multiple guitar tracks in live-room sessions with open microphones, a common Wrecking Crew practice for efficient pop and R&B production. Larry Carlton relied on a Fender Princeton during mid-1970s studio work with artists such as , , and the Crusaders, valuing its ability to produce clean tones that transitioned smoothly into overdrive via pick attack. The amp's touch-sensitive response complemented Carlton's jazz-fusion style on albums like Steely Dan's (1975). Mike Campbell of employed a Princeton for rhythm guitar tones, capturing raw, punchy sounds in studio environments. Eric Clapton utilized Princeton models in early studio sessions for blues-rock projects, notably during the 1970 recording of Derek and the Dominos' Layla and Other Assorted Love Songs, where its compact setup facilitated intimate, facing dual-guitar arrangements with Duane Allman. Among other notable users, modern artist has employed it in boutique-inspired setups, as seen in live and rehearsal footage.

References

  1. [1]
    The History of Fender's Ivy League Combo: The Princeton - InSync
    4.9 24K · Free deliveryJan 24, 2023 · At a meager six watts of power and made up of a diminutive 8-inch speaker, a single knob, and no on/off switch, the Princeton was bare-bones ...
  2. [2]
    The Fender Princeton - Vintage Guitar® magazine
    1962 6G2 Fender Princeton Preamp tubes: One 7025, one 12AX7 Output tubes: two 6V6GT in fixed bias. Rectifier: 5Y3 Controls: Volume, Tone, Speed, Intensity
  3. [3]
    The Fender Princeton Reverb Amp 1964-1967
    ### Summary of 1964-1967 Fender Princeton Reverb Amplifier
  4. [4]
    Fender Princeton Reverb (original issue, 1963-1981) - Equipboard
    Rating 5.0 (16) · $4.90 deliveryOct 27, 2025 · Steve Lukather used a Fender Princeton Reverb, modified by Paul Rivera Sr., as his "go-to" amp during his early session work from 1976 to 1982.Missing: notable | Show results with:notable
  5. [5]
    65 Princeton® Reverb - Fender
    In stock $4.99 deliveryFeatures · 12 watts · 10" Jensen® C10R speaker · Single channel and dual inputs · Long-spring Fender reverb and tube tremolo ("vibrato") · Classic Fender look ...Missing: history | Show results with:history<|control11|><|separator|>
  6. [6]
    The Woodies: A History of Fender's First Amps
    All Fender amps trace their lineage to three “woodie” models of 1946—the original Princeton, Deluxe (also called “Model 26”) and Professional. The amps appeared ...Missing: timeline | Show results with:timeline
  7. [7]
    https://mojotone.com/blogs/fender-field-guide/fender-wide-panel-tweed-princeton
  8. [8]
    Fender Princeton 6G2 Brownface 12-Watt 1x10" Guitar Combo
    In stock Rating 5.0 (10) The brownface amps were designed for more power, with a dual-6V6 output putting out 12 watts. Years of Production: 1946 - 1980
  9. [9]
    AB763 Blackface Amp Model Differences - Rob Robinette's
    'AB763' was Fender's internal model designation for the 1963 blackface circuit. "Blackface" refers to the panel color and 763 means July 1963.
  10. [10]
    Fender and the CBS Takeover | Reverb News
    Mar 6, 2014 · It was in 1965 that management of Fender transferred to the CBS corporation who had purchased the company from Leo Fender for 13 million dollars.
  11. [11]
    1960 Fender Princeton 5F2-A | Brussels V. Guitars
    14-day returnsThe tube compliment for the 5F2A includes the 12AX7 preamp tube, the 6V6 power tube, and the 5Y3 rectifier tube. ... Tube Chart: Dated “JD,” corresponding ...
  12. [12]
    https://edcorusa.com/products/princeton-5c2-5d2-5f2-a-1954-1955-1957-1960
  13. [13]
    Fender AA964 Princeton - Vintage Guitar® magazine
    The brown-panel 6G2 Princeton of 1961-'63 carried two 6V6GTs in a fixed-bias, push/pull output stage that generated about 12 watts – all elements and specs we ...
  14. [14]
    Tweed, Tolex, Two-Tone: A Guide to Amp Coverings - Fender
    Tweed. The small original “woodie” Fender amps of spring 1946 had finished hardwood cabinets before Fender adopted its first fabric-covered cabinet design ...Tweed · Brown Tolex · Blonde TolexMissing: wood | Show results with:wood
  15. [15]
    Fender Narrow Panel Tweed Princeton
    ### Fender Narrow Panel Tweed Princeton Summary
  16. [16]
    Fender Brownface Princeton
    ### Fender Brownface Princeton (1961-1963) Specifications
  17. [17]
    Fender Blackface Princeton Reverb
    ### Fender Blackface Princeton Reverb Summary
  18. [18]
    Fender Silverface Princeton Reverb
    ### Fender Silverface Princeton Reverb Summary
  19. [19]
    The Fender Silverface Princeton Reverb - The ToneQuest Report
    The '74 cabinet is made from pine boards painted black, although 2-3 pieces appear to have been glued together to achieve the width of one board from the ...<|separator|>
  20. [20]
    Vintage Amp Replacements | Jensen Loudspeakers
    Vintage Amp Replacements ; Princeton Silver '68-'81, Fender, 17 watts, Oxford 10J4-3 ; Princeton Tweed '48-'54, Fender, 5 watts, Jensen 8" 3.2 ohm P8T ...
  21. [21]
    Pure Vintage Chicken Head Amplifier Knobs - Fender
    In stock $4.99 deliveryFeatures · Set of six black "chicken head"-style amplifier control knobs · Set screw mounting (screws sold separately, p/n 0994922000 · Introduced on tweed-era ...Missing: Princeton knurled
  22. [22]
    Fender 1-button Vintage-style Footswitch with RCA Connector
    In stock Rating 4.5 (7) The one-button vintage-style footswitch from Fender features a 12' cable and RCA plug for Princeton and Vibro-Champ amps, and original Fender Reverb amps with ...
  23. [23]
    Go Inside the '64 Custom Princeton Reverb | Fender Amps
    The '64 Custom Princeton Reverb is a hand-wired reissue with a AA1164 circuit, 12 watts output, 10” Jensen speaker, and a solid pine cabinet.
  24. [24]
    Pure Vintage 2-Screw Mount Amplifier Corners - Fender
    Set of four nickel-plated replacement amplifier corners for effective amplifier protection · Includes eight mounting screws · Introduced on blonde, brown, and ...
  25. [25]
    Fender Woody Princeton – Ampwares
    Mar 23, 2011 · Model/Circuit Number: ; Years of Production: 1946 – 1948 ; Era: Woodie ; Configuration: Combo ; Controls: Rear facing, unpainted, unlabeled<|control11|><|separator|>
  26. [26]
    https://mojotone.com/blogs/fender-field-guide/fender-tv-front-princeton
  27. [27]
    Fender TV Front Princeton - Ampwares
    Mar 23, 2011 · Model/Circuit Number: 5A2 ; Years of Production: 1948 – 1953 ; Era: TV Front ; Configuration: Combo ; Controls: Chrome top facing w/ white screened ...
  28. [28]
    The History of the Fender Princeton: Part I - Carl's Custom Amps
    All these early Princeton models are 5 watt cathode biased amps (no need to bias these when changing tubes). They were intended for students rather than ...Missing: specifications | Show results with:specifications
  29. [29]
    Fender Princeton 5C2 Tweed 1954 - Reverb
    Out of stock1954 Fender 5C2 circuit, wide panel, small box, Princeton tweed in excellent condition. Only changes are a 3 prong cord, and some caps, both professionally ...
  30. [30]
    Fender Amp, Amplifier Serial Numbers - Superior Music
    Deluxe Reverb AA763, AB763 (blackface) A00100 to A00300 - 1963. A00300 to A03900 - 1964. A03900 to A13000 - 1965. A12000 to A19000 - 1966. A19000 to A24000 ...
  31. [31]
    Top tweed: the evolution of Fender's earliest guitar amps
    Jun 18, 2021 · Fender Woodies Tweed amp. (Image credit ... There was the [4.5-watt] Princeton, which was a tiny student model with an eight-inch speaker.
  32. [32]
    Fender Princeton 6G2 Brownface Amp, 1962 | |www.12fret.com
    Nov 11, 2022 · It started with 4.5 watt output into an 8 inch speaker, but by 1961 was 12 watts through a 10 inch and had a lush Tremolo circuit. At this point ...Missing: 1961-1963 specifications
  33. [33]
    Fender Princeton Tuxedo 6G2 Tube Amplifier (1964) | RetroFret
    This 1964 Fender Princeton Tuxedo 6G2 has a black tolex finish, a 6G2 circuit, a lush tremolo, and is a rare, well-preserved, "brown-era" amp.
  34. [34]
    Fender Black Panel Princeton 12-Watt 1x10" Guitar Combo 1963
    In stock Free deliveryThe Fender Princeton is a 12-watt, 1x10" guitar combo with a tremolo/vibrato circuit, made in the US between 1963-1964, and is good for small clubs.
  35. [35]
    BF/SF Princeton Reverb | fenderguru.com
    Compared to many bigger Fender amps the Princeton Reverb (PR) went through the CBS/silverface periods with very little changes. The rectifier tube was one ...Missing: solid- discontinuation
  36. [36]
    '64 Custom Princeton Reverb® – Fender
    In stock $4.99 deliveryPremium features include: Hand-wired AA764 circuit with tube-driven spring reverb and tremolo, Fender Vintage Blue tone capacitors, Three 12AX7 and one 12AT7 ...
  37. [37]
    A Guide to Vintage Fender Amps | Reverb
    Silver Panel Fender amps were made straight after, between 1967 and 1983, and can be identified by their silver control panel. They've usually got a blue label ...
  38. [38]
    https://mojotone.com/blogs/fender-field-guide/fender-princeton-reverb-ii
  39. [39]
    Fender Princeton Stereo Chorus 2-Channel 2 x 25-Watt 2x10" Solid ...
    This '90s workhorse packs 25 watts true-to-form DSP chorus with the dual 10" speakers adding enough dimension to really feel that stereo effect.
  40. [40]
    Fender Princeton Chorus (Red Knob) - What To Know & Where To Buy
    Rating 4.5 (22) · Free delivery6 days ago · Key features of the Fender Princeton Chorus include its solid-state design, 2x10" speaker configuration, built-in stereo chorus effect, and ...
  41. [41]
    Fender Amp Parts - '65 Princeton Reverb Reissue
    Free delivery over $99Our Aluminum Tube Shield Base is the perfect replacement for a damaged bayonet "twist and lock" tube socket base. Base only - not a tube socket. For base ...
  42. [42]
    Fender '65 Reissue Princeton Reverb 2000s black
    Fender '65 Princeton Reverb Reissue tube combo in great condition. Speaker has been upgraded to an Eminence Patriot Copperhead<|control11|><|separator|>
  43. [43]
    Fender Princeton Recording Amp 15-Watt 1x10" Guitar Combo 2006
    In stock $217.22 deliveryFender Gave Us A Couple Of These Amps To Reord Our Record With. This One Is In Like New Condition. The Earlier Versions Had A Few Bugs But This Version Is ...
  44. [44]
    Summer NAMM 2008: Fender '65 Princeton Reverb - InSync
    Free delivery 30-day returnsJun 17, 2008 · This all-tube combo puts 15 watts into a single specially voiced Jensen 10′′ speaker. You can get a range of incredible guitar tones by plugging straight in or ...
  45. [45]
    Tone Master® Princeton® Reverb - Fender
    Proprietary DSP modeling process · 10" Jensen C10R speaker · Rear-panel output power selector for full power and five attenuated settings · Balanced XLR line ...
  46. [46]
    Tone Master Princeton Reverb 1 x 10-inch 12-watt Combo Amp
    In stock Rating 4.5 (36) This 12-watt, solid-state combo amp includes cutting-edge modeling technology that faithfully reproduces the versatile and responsive nature of the amp.
  47. [47]
    About FMIC: Fender Musical Instruments Corporation
    In 1985, Fender opened its flagship U.S. factory and headquarters in Corona, California, followed by a second manufacturing facility in Ensenada, Mexico in 1987 ...
  48. [48]
    Fender Black Panel Princeton Reverb 12-Watt 1x10" Guitar Combo ...
    $$3,000.00 $4.90 deliveryWith 12 watts of tube power, the Princeton Reverb is perfect for small gigs and studio use, offering enough volume to cut through a mix without overwhelming.
  49. [49]
    How did the Princeton Reverb get all those features? | Page 5
    Sep 24, 2020 · I think historically the early blackface amps were the amps of the surf music era. Hence amps needed reverb to get that sound. So it made ...
  50. [50]
    Why I use a Fender Princeton Reverb most of the time - Aldo Spadaro
    The Princeton Reverb is used for its clean/overdriven tone, user-friendliness, great pedal response, and sweet, warm, balanced tone, making it versatile for ...Missing: class | Show results with:class
  51. [51]
    Is Princeton Reverb just a smaller version of Deluxe Reverb but ...
    Mar 20, 2024 · For low volume with pedals, the Princeton will sound better. The Deluxe Reverb tends to have lot more fizz at low volume due to the bright cap.
  52. [52]
    Randall's Story - MESA/Boogie®
    Around 1969 we wanted to play a prank on Barry Melton of Country Joe and the Fish. So I took his little Fender Princeton practice amp which, stock, puts out ...
  53. [53]
    https://www.guitarcenter.com/riffs/buying-guides/amplifiers--effects/best-guitar-amps-for-country-buying-guide
  54. [54]
    This 1969 Fender Princeton Reverb might have been on more hit ...
    Mar 3, 2023 · But few have seen as much action as Louie Shelton's 1969 Fender Princeton Reverb. ... Jackson Five, Whitney Houston, James Brown, The Mamas ...Missing: ABC | Show results with:ABC
  55. [55]
    Larry Carlton/live in Japan: Amp? | The Les Paul Forum
    Jan 19, 2006 · He used a blackface Princeton Reverb,and also various tweed Fenders,with Steely Dan.For instance,I think the Deluxe he used on "Don't Take Me ...Missing: Prince | Show results with:Prince<|control11|><|separator|>
  56. [56]
    Tom Petty and Mike Campbell - Vintage Guitar® magazine
    Talk about your red Rick 660/12, the guitar that's very closely associated with you and is pictured on Damn the Torpedoes. That one is actually owned by Mike.
  57. [57]
    The Inside Story of "Layla" - Alan Paul | Substack
    Mar 30, 2021 · Clapton and Allman were set up in the studio facing each other, looking one another in the eyes and playing live through small Fender amps–a ...Missing: Reverb | Show results with:Reverb
  58. [58]
    https://equipboard.com/pros/john-mayer