We also replaced the GZ34 recitifier tube with 5U4GB and re-adjusted the 6L6-bias to 33-35m A.

The 5U4GB removes the instant attack that we struggled with and introduces more sag and compression.

Many people consider the silverface amps just as sonically good as the blackface models.

Since the year 2002 we have observed, by monitoring the amp market on US ebay, that low wattage amps have increased dramatically in popularity.

Nowadays (2012) you can score a big 6L6 vintage Fender amp for the same price as a Deluxe Reverb or Princeton Reverb. The PA was invented long time before that and guitar tones containing fuzz and distortion have been around since the sixties-seventies.

We spent days playing it with different guitars and pedals, not able to decide whether we liked it or not. It sure sounded nice with a Tubescreamer which removes both the upper treble and lower bass, and this is also how Stevie achieved his tone. We wanted to play this amp without a Tubescreamer and achieve a decent cranked tone.

We finally decided to continue the path that team Linda Ronstadt had started, enhancing this amp to our needs.

Why has the desire for low wattage amps with 20-25 watts of tube power come up so late?

Both the Deluxe Reverb (DR) and Princeton Reverb (PR) “survived” the CBS silverface periods with minor changes.It is a 71 silverface Deluxe Reverb that we bought from the Linda Ronstadt band.It came with a fantastic vintage flight case that had travelled around the world, 6L6 tubes, a GZ34 rectifier tube, a JBLd120f speaker and had been totally AB763-blackfaced with new wiring, a professional cap job and all.It will not cut through the mix as easily as the stingin tone of the Deluxe Reverb.In general we don’t recommend the mods on this page that increase the power and clean headroom unless you are playing your amp at gigs on medium/large stages and you need more sparkling clean notes or funky rythm chords to cut through.Then we pulled the V1 preamp tube and replaced the tremolo intensity pot with a new switchable one that can completly disconnect the tremolo circuit from the signal path when turned to zero (see tremolo disconnect mode below), both to thicken the tone by increasing the preamp gain in the amp. The pick attack was now acceptable and the hard treble frequencies were compensated with punchy lower mids.