The "Blackface" Fender Princeton Reverb is a legendary amplifier revered by studio musicians around the world. The form factor, weight and features are an excellent match against my requirements but I have baulked at buying the Princeton Reverb viewing it as poor value for money costing almost as much as a Deluxe Reverb with a lower design specification. My Chris Stapleton '62 reissue Princeton got me rethinking...
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Summary
A historically significant amp used on countless hit songs for decades. Today, the '65 Princeton Reverb is as phenomenal looking, sounding and performing as ever, and is easily versatile enough to go from the living room to the recording studio to the gig with the great sound, style, reliability and authentic vintage vibe that Fender players know and love. One of the coolest amps around, period, it's ideal for anyone who demands top-notch tube tone, naturally dynamic clean and overdriven sound, and unmistakable long-spring Fender reverb and tube vibrato.
Features
- 12 watts
- 10" Jensen® C10R speaker
- Single channel and dual inputs
- Long-spring Fender reverb and tube tremolo ("vibrato")
- Classic Fender look
- Fitted cover and two-button foot-switch included
Specs
Accessories
- Foot-switch: 2-Button Vintage Style (Reverb On/Off, Vibrato On/Off), P/N: 0994058000 (Included)
Electronics
- Channels: One
- Connection Type: ¼"
- Control Panel: Volume, Treble, Bass, Reverb, Speed, Intensity
- Controls: Volume, Treble, Bass, Reverb, Speed, Intensity
- Effects: Reverb, Vibrato
- Effects Loop: NA
- Inputs: Two - (1/4", Input 2 operates at -6dB)
- Wattage: 12 Watts
General
- Amplifier Type: Tube
- Colour: Black and Silver
- Platform: Pro Tube
- Product Name: '65 Princeton® Reverb, 240V AUS
- Series: American Vintage
Hardware
- Amplifier Covering: Black Textured Vinyl
- Amplifier Jewel: Red Jewel
- Cabinet Material: Birch Plywood
- Control Knobs: Vintage-Style Skirted Black Plastic
- Front Panel: Black
- Grille Cloth: Silver
- Handle: Moulded Plastic Strap with Nickel-Plated Caps
- Rear Control Panel: Power
- Reverb Tank: 4-Spring, 8 ohm Spring Reverb Unit 4AB3C1B (p/n 0064063049)
- Speaker Jack: Two 1/4" Parallel (Internal and External)
Measurements
- Depth: 9.5" (24.13 cm)
- Height: 16" (40.6 cm)
- Width: 19.875" (50.5 cm)
- Weight: 31 lb (14.1 kg)
- Weight with Replacement Speaker: 35.38 lb (16.05 kg)
Miscellaneous
- Commodity Code: 8518.40.2000
- Power Cable: IEC
Original Speaker
- Speaker: 1 x 10" Jensen® C10R with Ceramic Magnet
- Total Impedance: 8 ohms
- Rated Power: 25 watts
- Weight: 2.65 lb (1.2 kg)
Replacement Speaker
- Speaker: 1 x 10" WGS G10C/S with Ceramic Magnet
- Total Impedance: 8 ohms
- Rated Power: 75 watts
- Weight: 7.09 lb (3.2 kg)
Tubes
- Power Tubes: 2 x 6V6
- Preamp Tubes: 3 x 12AX7, 1 x 12AT7
- Rectifier Tube: 1 x 5AR4
Price
- $2599 RRP, purchased for $2199
Highlights
Simply put, there’s really nothing quite like the pure, powerful sound of a Fender tube amplifier. For decades, the tonal richness and touch-sensitive dynamics of real tubes have given Fender amps a defining and unmistakable voice, as heard on most professional recordings and performances of the past 60 years—the music you’ve known your whole life.
Spring reverb
Among their many fine sonic attributes, Fender guitar amps like this one are prized in particular for their luscious spring reverb. For that wet, shimmering ambient sound ranging from subtle to cavernous, Fender lets you dial it in exactly to taste.
Rich, pulsating tremolo in any shade from subtle to stupendous is simply part of Fender’s guitar-amp DNA. Always has been and always will be.
Classic Fender® tone
Heard on countless recordings, this is the fantastic sparkling-clean sound, warm breakup when pushed, and cavernous reverb of Fender’s famous amps of the early 1960s and subsequent decades, prized by guitarists everywhere.
Assembled in the U.S.A.
Just like the great Fender guitar amps of the 1950s and ’60s that founded our amp legacy and defined the essence of pure tone and power, this amplifier is assembled in the United States.
Jensen® speaker
Jensen® and Fender go way back—to the very beginning, in fact. Jensen® speakers are the traditional Fender speakers, with sweet articulation for clean sounds and cool vintage-style breakup when pushed.
Review
The black face Princeton Reverb (AA1164) was introduced in 1964. Electronically, the circuit is descendent from the brown-face GC2 (which in turn was descendent from the tweed Vibrolux (5E11-5F11). Major differences between the GC2 and AA1164 Princetons are:
- Reverb circuitry;
- Difference tone stack;
- Extra 3rd gain stage before phase inverter;
- Higher voltages;
- Changed / added resistors and capacitors.
The Fender '65 Princeton Reverb Reissue (PRRI) was introduced in 2009, a surprisingly late release given the popularity of the reissues series e.g. the '65 Deluxe Reverb Reissue introduced in 1993.
The PBC based PRRI 'approximates' the hand-wired board AA1164 model with some variations:
- 12AX7s replace 7025s;
- Grid stoppers, screen and cathode load resistors on the power tubes;
- Flyback diodes across: heater supply, output transformer and power tube cathode loads and;
- Bias adjustment with zener diode protection
Deluxe Reverb vs. Princeton
Historically, I have not been that interested in the Princeton, costing almost the same as a DRRI and lesser design features. After getting a Chris Stapleton Princeton (i.e. brown-face '62 Princeton reissue), I appreciated the role of the Princeton in rock/recording history and along with ongoing recommendations from player developed an interest in the Blackface Princeton Reverb.
The differences between the Deluxe Reverb and Princeton are:
Differences | Deluxe Reverb (DRRI) | Princeton (PRRI) |
Wattage | 22W | 12W |
Dimensions (H x D x W) | 17.5” x 9.5” x 24.5” | 16” x 9.5” x 19.875” |
Weight | 42 lbs | 31 lbs |
Speaker | 12" | 10" |
Channels | 2 | 1 |
Pre-amp tubes | 4 x 12AX7, 2 X 12AT | 3 x 12AX7, 1 x 12AT7 |
Price $AU (2025) | $3099.00 | $2699 |
Major differences between the Princeton Reverb (PRRI) vs Deluxe Reverb (DRRI) Reissues:
- 10" vs 12" speaker: I had reservations about a 10" speaker. would it be too small? Would the output be weak or boy? A 12" speaker upgrade is a popular mod and some US retailers upgrade even sell new Princeton Reverbs with a 12" speaker. However, amp tech guys say the cabinet is too small for a 12" (makes the amp sound "boxy"). The 10" speaker is part of the Princeton vibe and there is always the option of using a 12" as an extension speaker;
- Single Channel: The DRRI has two channels Normal and Vibrato (tremolo). 99% of the time I only use the Vibrato channel on the DRRI so using the equivalent input on the PRRI is not an issue;
- Phase Inverter: The Princeton phase inverter is implemented using Cathodyne circuit reflecting the design evolution Tweed Vibrolux (5E11-5F11) → Brownface Princeton GC2 → AA1164 Princeton Reverb. It's a simpler circuit than long-tail pair but produces less gain than the long-tailed pair used in the DRRI which accounts for the 12W (PRRI) vs 22W (DRRI) power output;
- Tremolo Circuit: The PRRI uses a Bias Wiggle circuit. This modulates the power tube bias creating the tremolo effect. The DRRI has a dedicated tremolo circuit that modulates the guitar signal being on the receive side of the phase inverter. Again, the PRRI design reflects it's Tweed Vibrolux/Tremolux heritage;
- Price: Given the lower design spec or more accurately, a design reflecting the evolution of the PRRI, the amp might seem over-priced compared to the DRRI. I now view the PRRI and DRRI as two different amps with similar build costs rather than the DRRI being an upscale version of the PRRI.
Implications:
- Lower wattage/volume: The wattage and cabinet size of the Princeton create an amp less shouty than the DRRI and more appropriate for small venues/studios;
- Lower Headroom: It can get a bit of growl live, although there's not much clean headroom and might struggle to be heard over a loud drummer;
- Smaller speaker size: 10" produces less overall projection than a 12" speaker;
- Less weight: The weight reduction is welcome - even a DRRI seems heavy;
- Only one channel: Having only one channel is not an issue. I only use the vibrato channel on my DRRI.
- Lower spec phase inverter: Cathodyne phase inverter (vs the DRRI push-pull) produces a slightly different/uneven sound breakup;
- Vibrato design: Deeper bias wiggle tremolo.
Features:
As per AA1164
Sounds:
Before Internet (BI) I/we tended to buy/aspire towards kit the tock stars used e.g. Jimi/Eric used Strats/Les Pauls & Marshalls. Therefore I need that kit to get that sound. It's taken years to realise that that might not be my sound. If only I had been influenced by the Wrecking Crew!
Twenty two years ago I got back into guitar and started with a hot-rod De-ville and a Fender Twin. Since then I've gone from a Fender Twin with 100 watts to a Fender Princeton with 12 watts.
The Princeton Reverb ’65 has a wonderful 'clean' tone at low volumes. It breaks up early giving a warm overdrive sound at a reasonable volume and overdrives nicely from 4 onwards. There may not be clean head room and might struggle with a loud drummer or a larger live setting but it is perfect for practice, home or studio work. While the 10" speaker doesn't have the presence of a 12", it's the right size for home, studio or small gigs. I can always add a 12" cab, take a larger amp or mic the amp via PA for larger venues.
My Fender Chris Stapleton '62 Princeton which is a hardwired reissue of the GC2 model with 12" speaker. Despite the similarities, the Chris Stapleton '62 Princeton and the Princeton Reverb ’65 sound quite different. It will be interesting to compare and perhaps combine these amplifiers into a wet/dry pair.
The Vibrato intensity control doesn't seem to do much on lower settings with the usable range being 4-10. I may mod the tremolo circuit to provide greater depth and adjustability post warranty.
Reliability: 8
I've had two issues with my Princetons:
During a studio jam about 6 months after purchase. I could smell something burning, the amp began to distort and then I lost all sound. The tubes were "red-platting". I power-cycled the amp (problems never just disappear). When I got home I opened the chassis to see if there were any obvious problems when I found the following issue ... no ground on the bias pot. I guess the tenuous bias adjustment ground connection was lost during the jam and baked the tubes. I re-soldered the connection. I thought I'd fixed the issue the tubes tested ok and the amp played well at home. However, the power tubes "red-plated" again back in the studio with lots of cracking, popping and distortion. Back at home I found the bias level was way too hot, maybe the intensity pot was cooked due to the faulty bias wiring. The amp was still under warranty, so I returned the amp for warranty repair. Surprisingly, Fender sent me a new replacement amp.
After the previous amp I opened the amp to confirm all connections were good. I should have checked the speaker wiring? While the amp wiring looked good. I found the replacement overly bright, my tone settings5were treble=3-4 and Bass=7-8. I couldn't remember the tone from the original amp thought it was due to the bright Princeton tone and the low spec standard speaker. So, I bought forward one of my Future Reliability Improvements (below) and replaced the standard speaker with a WGS 10" G10C/S - 75 watt. While installing the new speaker I noted that the speaker was connected in reverse polarity. This explains the poor tone definition! Maybe the standard speaker was a serviceable option.
Both faults are indicative of poor quality control. Both faults should have been picked up during factory QA. I don't think this fault is indicative of the design and expect reliability to be pretty good over the lifetime of the amp.
Future Reliability Improvements
In any case I will do some mods to improve the sound the warranty expires to improve sound/reliability:
- Filter Caps: Replace;
- Heater Supply: Move off the PCB;
- Screen Resistors: Move off the PCB;
- Modify 1st Gain Stage: Replace 1st stage bypass cap (C18) with 1-2.2 µfs;
- Modify Tremolo Circuit: Replace R14 1M with 470K to improve tremolo intensity. Replace C21 .01 with .022 to give a slower minimum speed;
- Protect bias supply: Install 2 meg resistor between lugs 1 and 2 of the intensity pot (R24) so power stage will still have a bias if the intensity pot fails;
- Reduce blocking distortion: Adding a 470k 1/2w grid-stopper between the coupling capacitor and pin 4 of V4b and maybe add a grid-stopper to the input to the 12AT7 reverb-driver valve (V2);
- Rewire Power Tubes: Rewire cathode wiring loops on power tubes;
- Speaker: Replace the existing Jensen C10R (2.65 lbs.) with 10" WGS speaker:
- ET10: 65 watts, 6 lbs, 10" version of the the ET65 I installed in my DRRI, great option but British voicing;
- Veteran: 20 watts, 3 lbs. Underpowered for Princeton;
- G10C/S: 75 watt, 7.01 lbs, heavy but American voiced speaker with the regular G10C being the recommendation of the amp cognoscenti;
- Speaker lead: Replace speaker lead and plug;
- Reverb: Replace reverb leads.
Customer Support: 10
I bought the amp closed box, checked the amp in the shop but not all the accessories. While unboxing found the amp was shipped with a Fender Deluxe Reverb '65 cover! The retailer swapped cover from another amp they had in stock.
As noted above the amp failed after 6 months and was returned to the store for warranty repairs. The return notification mail said the amp might take up to 1 month to repair with any repair marked "Urgent" if in for repair longer than 1 months. I was subsequently surprised to receive a mail three business days later saying my amp was ready to pickup. I was nervous that the tech or shop had plugged it in and found no fault however, I was delight to find that the shop had decided to replace my daily amp with a new one. Unfortunately the replacement amp speaker was wired reverse polarity spoiling the sonic experience until I replaced the standard speaker. Great customer support but spoiled by poor build QA.
Overall Rating: 9
Like the Bassman and '65 Deluxe Reverb Reissues (DRRI), Fender have gone to some effort in recreating a modern PCB re-issues of the original amp while keeping a reasonable price point and reliability. Fender also produce hand-wired versions of the Deluxe Reverb and Princeton Reverb. They don't have a good reputation with amp techs with both hand-wired amps being viewed as inferior to their PCB cousins (let alone the original models). While the hand wired '64 Princeton Reverb is not in need of major modifications like the '64 Custom Deluxe Reverb the Princeton transformer has been noted as being under sized for the job.
Great sound for home, studio, small stages and lightweight. In fact the PRRI seems lighter and more usable (lower volumes) than my Chris Stapleton '62 Princeton, perhaps due to the 10” rather than 12” speaker.
Despite my historic reservations about the Fender Princeton I have found it to be my #1 go to amp! It ain't perfect but it's close.
