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Carl Verheyen: Desert Island Amp

| June 13, 2011

I&rsquo;m a Fender Princeton fan. I have three of them and they seem to be ON all the time.&nbsp; Two 1964 blackface Princetons live in my studio, built into the cabinet /counter top / work station where I write, practice, arrange, jam with fellow guitarists and occasionally teach.&nbsp; The third one, a Silverface&nbsp; &rsquo;67, lives in the garage as a go-to amp for smaller sessions that require an overdub or two. It fits in the trunk and always delivers the goods.&nbsp; On important record dates (especially on my own records) I&rsquo;ve mic&rsquo;d a stereo pair for a truly gorgeous clean tone.&nbsp; With the volume on 3 or 4, these amps have a tone that blooms in a way that only a pair of 6V6 tubes can do. <br /> &nbsp;&nbsp; &nbsp;But I rely on the Princetons for another important reason: tweaking. I consider this model amp to be &ldquo;ground zero" for electric guitar. The way electric guitar was intended to sound, as per Leo and possibly God.&nbsp; I can sit directly in front of one and really hear what the guitar is doing. A Princeton is a reliable window to the rest of my amp collection, too: If I get pickup heights, tone controls or the action on my guitars sounding good through a Princeton at home, I can be assured it will sound good through the big amps on stage.&nbsp;<br /> &nbsp;&nbsp; &nbsp;Recently one of them was getting a bit brittle sounding in the top end. I had my amp repairman take it home and when it came back it quickly became Princeton #1.&nbsp; It needed some new caps and tubes, so I gave him a second one and once again, he improved the tone so much I had to lay the third one on him, too. Each one came back sounding better than ever and I&rsquo;m inspired once again to call the early sixties Fender Blackface Princeton my desert island amp.&nbsp; &mdash;<em>Carl Verheyen <br /> </em>

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