Quote:
Originally Posted by BrianF
I'm an engineer so I look at these things equally from a technical standpoint and as a player. That said there is no denying that some folks like the older amp designs... Fender's amp evolution from Tweed to Brown to Black / Silver followed an electronics design improvment evolution..which changed the sound along the way. The PR as orginally designed is fine for around the house, for practice, or for small gigs...but unless you mic it eventually you'll start digging into details of how to mod it or just get a bigger amp. IMHO
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I think that what has happened over time is that the customers (musicians) have redefined what "good" is. For Fender in the 50s and 60s, "good" meant louder and cleaner (in the most general terms) and so the amp lineup followed suit - more money, more loudness and cleanness. Champ at one end, Twin at the other. From a standpoint of engineering, the changes from tweed to BF were all positive and informed by this definition.
What they did not anticipate was that players wanted the push the amps into territory for which they were not really designed - hence the criteria change. Suddenly the cheaper, dirtier amps are on par or better than the big ones because they fulfill the customer's needs in a better way - by doing something that wasn't in the design spec.
So the PR is just great for our modern definition of a small amp, indeed loud enough for many small gigs. Ditto for the Deluxe, etc.
If Leo stopped in at your gig with a PR wailing away, he might think that you should get a bigger amp - that Princeton is distorting
