Finally we point out location of components in the physical layout diagram.
#BK BUTLER TUBE DRIVER BLACKFACE FENDER MOD#
We usually start with explaining a mod from a functional perspective where we relate to components in the logical schematics diagram. You’ll need schematics to implement some of these mods. If you need a bigger amp on stage, go ahead reading below. Your job is to make sure your band and yourself can hear the amp on stage. If you’re micing the amp the audience should have no problem hearing a stock PR (we know: it can be hard to trust the sound engineers). So why increase the threashold of tube heaven? If you are using your amp at home or in recording situations you should appreciate the early breakup of the original 6V6 power tube circuitry, the ineffective phase inverter, a smaller output transformer and a low-medium inefficient 10″ speaker. You are lucky to have a tube amp that breaks up nicely and shines at you every day at practise volumes.
#BK BUTLER TUBE DRIVER BLACKFACE FENDER MODS#
In general we don’t recommend the mods that increase the power and clean headroom unless you actually have experienced the amp to be too small at gigs. Just because many people does so, it doesn’t mean it’s right for you. Does this mean you should implement the mods too? Not necessarily. We’ve seen no other amp that has been analyzed so thoroughly in terms of mods and tricks to make it bigger. So, why would you want to enhance or mod a PR? Due to its small size many players want to increase the power, volume and clean headroom. A few also wants to change the distortion characteristics. First in 1978, when the push/pull volume boost was introduced, there was a significant difference from the traditional blackface circuit. As a player’s amp one could replace the speaker with a bigger one without “ruining” the value of it, like for the precious collectable blackfaces.
Being almost a blackface amp with a “wrong” faceplate, the large number of silverface models became popular player’s amps. Still, many people consider the tone of the silverface Princeton Reverb just as good as the blackface. The glued and stapled baffles on the silverface amps is to us one of the bigger differences between the blackface and silverface amps, or should we say, the cabinets. In build quality and component selection (brands of caps, resistors, pots) the silverfaces are not as robust as the blackface models. The rectifier tube was one of the tube and circuit changes where the 5U4GB was replaced by a GZ34.
Much of this is due to an unefficient phase inverter circuit design.Ĭompared to many bigger Fender amps the Princeton Reverb (PR) wenr through the CBS/silverface periods with very little changes. When it is cranked it tends to sound a bit “browner” than the bigger two-channel amps, meaning more breakup in the lower frequencies and mid-focused tone. With a 10 inch speaker run by a 12-15W dual 6V6 amp, it delivers a true “American” Fender tone with punchy, responsive lows together with chimey highs. The Princeton Reverb is the smallest blackface/silverface Fender amp with both tremolo and reverb. V4 12ax7 = 1/2 Vibrato and 1/2 Phase inverter V3 12ax7 = 1/2 Reverb recovery and 1/2 Reverb mix 1978-1981 “silverface” circuit with Push-pull volume boost.ĪA1164 Tube layout (Seen from behind, V1 is to the right side).1968-1978 “silverface” circuit AB1270 without Push-pull.
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