The ‘65 Princeton Reverb reissue has gone on to become a best seller that, apart from its PCB–based circuitry, represents quite a faithful recreation of its highly regarded predecessor.
So why would they choose to reissue a ‘68 model as well?
There is a lot of bass anywhere above four on the dial — probably too much for anyone but Jim Campilongo — but there is always enough range to dial it out, and it certainly gives authority to single-note lines played on a bridge single–coil!
The long–tank spring reverb does everything that you’d expect of a Fender amp reverb, including offering the usual excess anywhere above about three on the dial.
Well, now I don’t need to, because that set of mods is exactly what Fender have incorporated in the models of their ‘68 Custom range!
Negative feedback is used to reduce noise and distortion, and also to help keep amplifier circuits stable, but most Fender tube amps are inherently stable anyway, so you can reduce the negative feedback all the way down to zero if you want, in order to benefit from a bit more gain and a more gradual transition into distortion, albeit at the expense of a little more noise.
Top–notch Schumacher transformers are used, with three Groove Tubes 12AX7s, a 12AT7 reverb driver and a 6V6 output pair.