Everything You Need to Know to Buy the Right Fender Amp(s)!
Understanding the different Fender amps out there isn’t easy. They’ve reused the same names for an enormous range of completely different products over the years.
I’ll try to cut through the noise and give you a rundown of the best version(s) of each model—focusing on what really matters. But first, a bit of history is needed to set the scene.
Fender began making amps in 1946, originally designed for their lap steel guitars—before the Telecaster even existed. These early models are nicknamed “woodies” because they were built from wood and weren’t yet covered in Tolex.
Three amps launched at the time, and all are still in production today—at least by name, though the designs have changed dramatically.
Princeton
The original Princeton was the smallest of the three, fitted with an 8” Jensen speaker and producing just 6 watts. There were no controls, as the steel guitar had a volume knob. It didn’t even have an on/off switch—let alone a standby!
In 1948, the Princeton returned as the second-smallest model (the newly introduced Champ took the smallest spot). Now covered in tweed with a so-called “TV front,” it featured two preamp tubes and a single 6V6 power tube.
The next significant update came in 1961, now with two 6V6s, a more advanced EQ section, and eventually a reverb version.
Since then, Fender has released many Princeton models—some solid-state, some with or without reverb and tremolo, and using different speaker sizes and brands.
These days, you’ll mostly see three key models:
- ‘65 Princeton Reverb – Includes volume, bass, treble, reverb, and tremolo. It’s not hand-wired and has a 10” Jensen C-10R speaker, delivering 15W. It’s a decent amp, but it won’t blow your mind.
- ‘62 Chris Stapleton Princeton – This unique model features volume, tone, and tremolo, paired with a 12” Eminence Special Design speaker. It produces 12W. It’s expensive and can be unforgiving—definitely not a beginner’s amp. That said, Chris used just this amp to play the Super Bowl (check the playlist above).
- ‘64 Custom Princeton Reverb – This is the best of the bunch. Hand-wired and fitted with a 10” Jensen P-10R speaker, it delivers 12W of gorgeous tone and responsiveness.
That said, gigging with just a Princeton can be tricky if your drummer plays loud. But who said you need just one amp? More on that later…
Champ
The Champ wasn’t part of the original “Woodie” lineup; instead, it replaced the Princeton as the smallest model. Like the Princeton, there have been many variations of the Champ over the years.
Notably, Eric Clapton recorded I Shot The Sheriff and Layla using a Champ. Today, you can find several versions, including the Eric Clapton Tweed Vibro Champ, the ‘57 Custom Champ, and the ‘68 Custom Vibro Champ Reverb. All of these are 5W amps, with most featuring an 8” speaker (the ‘68 has a 10”).
These amps are fantastic for recording, but they might struggle to keep up with a drummer if you’re after a clean sound.
Of course, if you love the tone, you could use any of these models with a Fryette power station and a cab of your choice—but for now, let’s pretend that’s not an option.
There’s also a legendary Champ from the early ‘80s that many consider to be the best of the bunch—and some even argue it’s the last great Fender amp ever built.
This amp is the Paul Rivera-designed Super Champ, which featured a 10” EV Force speaker, two 6V6 power tubes, and a lead channel. Producing 18W, it could’ve easily been called a Princeton.
If you ever get the chance to pick up one of these old Super Champs, don’t hesitate. They’re exceptional, record beautifully, and, when placed high on stage, can keep up with a drummer just fine.
Deluxe
Let’s return to the original woodies. The middle model in the lineup was called the Deluxe—a name that’s stuck, and for good reason, given the many variations of the Deluxe over the years!
There are essentially two key Fender Deluxe amps to consider. First, the ‘57 Deluxe Tweed, which delivers a raw, punchy sound using two 6V6 power tubes to produce 12W through a 12” speaker.
The second is the ‘68 Custom Deluxe Reverb, a blackface model featuring two channels, reverb, and tremolo. It produces 22W through a 12” speaker.
The blackface Deluxe is essentially a step up from the Princeton in terms of power and versatility. However, if you’re after a clean sound that can stand up to a loud drummer, it won’t quite cut it. For that, you’d need something like a Super Champ. Confused yet?
The Magic Combination That Mike Campbell Uses!
My favourite guitar sound comes from Mike Campbell, Tom Petty’s longtime sidekick.
What Mike does, and something you absolutely must try, is combine the Princeton Blackface Combo (with a 10” speaker) with a Deluxe Tweed (using a 12” speaker).
Getting the phase right can be tricky, so you might want to experiment with the distance between the amps. A device like a Lehle could be handy to split the signal, flip the phase, and sort out the ground issues on one of the amps.
When you finally get it dialled in, these two low-wattage amps together create a sound that’s nothing short of magical. You’ll never be completely satisfied with just one of them—it’s the combination that truly shines.
Everything I say from here on will fall short of the magic you get from combining a Blackface Princeton with a Tweed Deluxe. The complexity of that sound simply can’t be replicated by a single, higher-powered amp.
That said, this article is about Fender amps, so I can’t ignore the next models…
Vibroverb, Super Reverb, and Pro Reverb
You’ve probably heard of the Vibroverb, especially since Stevie Ray Vaughan (SRV) famously used it, but when you tried one, it didn’t quite make you sound like SRV…
That’s because SRV didn’t just use one amp—he often played through multiple amps simultaneously (as mentioned earlier).
Anyway, the Vibroverb is a step up from the Princeton and Deluxe models, featuring two 10” speakers and running two 6L6 tubes to produce 40W. (Although SRV’s Vibroverb was unusually equipped with a 15″ speaker.)
This setup allows you to get a relatively clean sound next to a medium-loud drummer.
The next step up from the Vibroverb is the Super Reverb. Also running two 6L6s at 40W, the Super Reverb has four 10” speakers, allowing you to easily play clean next to a drummer. It’s a popular choice among pedal steel players for its ability to remain so clean.
Then there’s the Pro Reverb, which harks back to the original woodie amps. The original Pro had a 15” speaker, and the name was revived for the Pro Reverb. I’ve owned this amp as a 2×12” version, and it’s quite similar to the Vibrolux, using either one or two 12” speakers. While it’s said to run a higher current through the circuit for a cleaner sound, I believe the speaker configuration is mainly responsible for the tonal difference.
In essence, we’re looking at a 2x6L6, 40W amp here, available in 2×10”, 4×10”, or 2×12” speaker configurations. While there are other speaker combinations available, let’s keep it simple.
I used my 2×12 Pro Reverb with a Tube Screamer and some slapback delay, paired with a Gibson 345. It was fantastic, and I never would have sold it.
Unfortunately, someone broke into my rehearsal space and stole it all. I didn’t play electric guitar for four years after that—I was mourning the loss and had to switch to acoustic just to cope.
Bassman
Originally designed for the Precision Bass, the Fender Bassman is another iconic amp that has inspired countless Fender designs.
When the P Bass was first introduced as an alternative to the double bass, the amp used was the early Pro woodie, which featured a 15” speaker. However, this setup wasn’t ideal for the new bass.
Fender then developed the Bassman, featuring a 15” speaker in a sealed cabinet, whereas all previous Fender amps had open-back designs. Unfortunately, the first Bassman was not a success—the speaker kept blowing, prompting Leo Fender to go back to the drawing board.
After several attempts, he hit the mark with the 5F6-A model. This version, produced from 1958 to 1960, featured four Jensen P10Q speakers and was much better suited for guitarists.
Two of the most famous Bassman amps for guitar players came a little later. Brian Setzer’s 1963 6G6-B featured the classic blonde tolex with a brownface finish, while Robben Ford’s mid-’60s blackface Bassman, paired with a Tube Screamer, famously inspired Dumble to build him a custom amp.
The Bassman was known for being loud—and for its distorted loudness. If you were after super clean tones, you’d have to look elsewhere, though be prepared for a bit of a workout with its weight!
Twin Reverb
The Twin Reverb doubles down on the 6L6 power, using four of them along with two 12” Jensen C12K speakers. This amp delivers 80-85W, depending on the era.
The clean tone produced by the Twin Reverb is so loud that it could overpower two drummers. In fact, you might need a couple of drummers just to help you get it in and out of the car, as the Twin Reverb is famously heavy.
What Fender amp(s) should I buy?
The answer to this question varies depending on who you ask, so I’m not going to sit on the fence and claim they’re all great—you’ll ultimately go on your own journey, regardless.
That said, I’ll stick with my original point: the best Fender sound comes from combining two amps—one blackface and one tweed. Get the phase right, and you’ll be blown away. A Princeton and a Tweed Deluxe make for a magical combination.
Personally, I’ve use a Ceriatone OTS20 for the blackface side and a Tone King Imperial for the tweed side. I also have a custom-made cabinet, but I’ll share more about that some other time.
If you want to be the loudest in town, you could opt for a Pro Reverb and a Bassman Tweed to create a similar setup—but honestly, who in their right mind would want that kind of volume? Well, I would!
If you could only pick one amp and never change, I’d recommend the early ‘80s Super Champ with the EV speaker. It’s baffling that Fender doesn’t build this perfect amp anymore—it’s one of those mysteries that’s up there with the pyramids or why time slows down near a black hole. It just doesn’t make any sense.
Or perhaps we should forget all these debates about the best amp to buy and let Jack White solve the problem for us with his Panoverb.
His latest signature amp embodies the very concept I’ve been talking about—two amps in one. He’s gone for a combination of one 10″ and one 15″ speaker. Check video above.