![]() Like its cousin the Deluxe Tone Master (which we reviewed back in 2020), the Princeton Tone Master could leave a lot of experienced players scratching their head over whether it’s tube or digital-particularly when it’s situated in a mix, and especially at cleaner, lower volumes. This additional functionality enables you to send the Princeton’s output to a recording interface or to a house PA. There’s also an XLR out which is accompanied by an output level control and a switch that activates two impulse response cabinet simulations. To the average player, the most critical of these will be the 6-position power attenuation switch, which moves between a Princeton’s traditional 12 watts down to 6, 3, 1.5. ![]() ![]() And while the back panel isn’t much busier than a tube version, there are extra controls that are keys to the Tone Master’s extra flexibility. There are no heavy transformers or fragile tubes hanging from the chassis. The back side of the amp, however, reveals more clues. The control layout is the same, and apart from the jewel lamp glowing amber in mute mode, there are few hints that it might have a digital heart. And if you’re not looking too closely, it’s easy to assume you’re plugging into a tube version. When situated more conspicuously, though, the Princeton Tone Master is the handsome essence of amplifierness. It’s small enough to go missing in the shadowy corners of a stage, save for the telltale glow of Fender’s signature jewel lamp. Just like a ’60s black-panel Princeton Reverb, the China-built Tone Master version is a slyly cool piece of kit. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |