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The Princeton circuits up through 5C2 differed from the Fender Champ in having two versus one preamp stage (6SC7 dual-triode vs 6SJ7 pentode) and added the tone control that was absent in the Champs; the 12AX7-based Princeton models 5D2 through 5F2-A were essentially the Champ circuits 5D1 through 5F1 with a tone control and a somewhat larger ...
The Fender Princeton Reverb is a guitar amplifier combo, essentially a Princeton with built-in reverb and vibrato. The 12 Watt Blackface version was introduced in 1964 and available until 1967; in 1968 it was changed to the Silverface version with a drip edge around the grill cloth.
Also, existing Silverface Princeton Reverb and Deluxe Reverb circuits were offered in a slightly modified Blackface cosmetic package from roughly 1978 to 1982, the difference from the 1960s versions being that the model designation on the faceplate did not include the word "Amp" after the script typeface model name, as the earlier versions had.
The amount of gain produced surprised both men, and Smith combined the cascaded design with the small form factor of the Fender Princeton, creating the first high-gain amp, the "Princeton Boogie." [1] [8] Released in 1972, the Boogies solved the issue of amps not having enough gain to sustain notes at volumes suitable for smaller venues. [4]
Because of this, the 6V6 soon proved itself to be suitable for use in consumer-market musical instrument amplifiers, particularly combo-style guitar amps such as the Gibson GA-40, and the Fender Amplifiers; Champ, Princeton, and Deluxe, some of which drive their 6V6s well in excess of the datasheet specified maximum rating.
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Such circuits typically had controls for speed and depth, and produced an effect described as "lush, warm, and roundly pulsing". [4] Later amplifiers, and particularly the Fender Blackface amps of the mid 1960s and the later Silverface amps, used a much more complex circuit, producing the kind of effect that was especially popular with surf ...
Unlike Fender's later reverb amps (such as the Princeton Reverb), the Falcon had a fairly unusual placement of the reverb circuit: rather than being placed after the pre-amp section and having the wet signal mixed with the dry, the Falcon's reverb circuit taps the signal before the volume and tone control, and mixes it with the dry signal via ...
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