Crank the volume, but roll back the guitar volume and you get a killer tone at home use volume. I played a '73 Pro Reverb today with a Strat and it was an instant SRV tone.
Have '70s Silver Face Pro for 30 years now & ts difficult to put in words how good & robust this thing is. Incredible really, just how usable it is in any situation, tho specially in studio. Adapted left channel to right (so ts one channel amp) & miracle. By far the best i have & was using ever. Live - heads turn on tone, really.
Great axe. Great playing. Both amps sound fabulous. Best buy both for stage use ... run through the Twin for your cleans, and footswitch over to the PRO for a bit of dirt!!
Back when I was a kid and 1st learning guitar, my teach used his gold top L Paul and I used his Ric 360. For amps he used his Ampeg V 4 stack and I used his silverface Super reverb. Made me love the better sound of a Fender amp. Later I got an opportunity to buy a B Egantor modded silverface Twin. Pretty cool amp. Got stolen later. So when my anger subsided and felt like having equipment again I got a used deluxe plus Strat and a pro tube Twin. This was in the mid 90's. Still got both but this Twin is so LOUD that most the time it's unusable. Got other amps since then but still love that straight clean Fender sound. IMHO it's better than my Lab series L 5 also. But not as controllable as my Boogie.
I play a twin on big stages A pro on pub tour And a silver face princeton for everything else. IMO for what I need they are the best thing out there. I have celestion heavy creamback on one side of my twin tho cause it seems to reduce the over the top, top end. But the rest of mine are faithful rebuilt speakers that originally came with the amps. A good amp negates the need for so many pedals.
Yes, sure. But it has a diferent rectifier. It’s a tube diode and it cause sag compared to the rectifier silicon diodes of a Twin Reverb. Furthermore, Twin Reverbs has way more headroom. Personally, I prefer less headroom. To me, Pro Reverb win because it is suficient. But the Twin can be configured for less headroom too. Just swap out two output tubes (one per each side of output transformer) and rise up the NFB resistor value to more aggressive tone.
My first big amp was an ac30 which I run @ 22w. It got me evicted shortly afterward. I play clean now and then sure. I do. Honest. I'm struggling to imagine a scenario where anyone needs nigh-100w of volume of anything. People always say, "back in the day" but even back in the day that was a lot! The weirdest thing about those higher powered amps is they are so brutally directional. So even playing your outside gig or your auditorium sans PA, it wouldn't work all that well. *shrug
This may not be true in every case. I have a '68 Twin Reverb (black line) but it has the AC568 circuit. You can tell by the big white caps (cathode) from the 6L6 to ground. Some didn't like this but I can't hear well enough to know the difference.
@@achysklic Thanks achy. I'm thinking about doing a cap job on my Twin but it sure is tempting to leave it as it left the factory and let another owner do the tuneup. I also have a '65 Pro Rev and a '69 Pro Rev.
If you notice the thin vertical black lines on the silverface that indicates the earliest silverface amps. They only had those black lines for about six months. What does that indicate? You can almost bet that it is a blackface (components) amp. It looks like a silverface cosmetically, but it sounds like a blackface, because it is a blackface inside.
You are right. I can't see the various components that would have date stamps on them, but the AA165 circuit number on the inside of the Pro they shoot past is a Blackface wiring spec. I have the same thing with my Pro Reverb. Has a silverface and I bought it in 1972. But the newest part on it is 1968 and the diagrams and components are all for Blackface specs.
Which one is better for getting a way huge Hendrix- Stevie Ray type tone? Which one gets more crunch, overdrive? Since neither of them have effects loops, how god are they at taking pedals, and does the newer ones that have effects loops sound better with pedals? I am trying to get this all figured out.. Thanks.
Do they make the Pro reverb in re-issue? If so what do you think of them? Can you do a test to compare a re-issue Pro Reverb with an original blackface Pro Reverb? and test the overdrive on it also, thanks
There are no reissue pro reverbs, they did make a model later and called it the same thing but it's not the same amp at all. It's channel switching and modern.
I had a pre CBS Twin. It was shrill and too clean. By the time it would begin to breakup it was obnoxiously loud. The good news is you can load a lot of front end in it and it would perform stellar.
The 65 twin is the obviously better sounding amp. The silverface tonestack always has had a strange midrange crunch. The only silverface amp I've ever heard that really stood out was a deluxe.
the tonestacks are the same in blackface and silverface...they sound different for other technical differences, mostly the output section, not the tonestacks
I feel they didn't spend enough time mic'ing the pro. It's kinda bandwidth limited in tone. They also have b-roll footage of Utah speakers that I suspect are what was in the Pro. Not the best sounding speakers tbh. The Pro Reverb is a beautiful sounding amp in person, th-cam.com/video/n_8E8_jA92M/w-d-xo.html This video I made shows what I mean. It's a very warm sounding amp, not unlike the twin but way looser feeling!
Great amps! But today nobody needs a very loud amplifier. It’s anoying, specially, if they have too harsh and ice picky tones that goes crazy. Ok, I know, we can use attenuators and put some capacitors across the NFB resistor to tame the crazy trebly tones or just get earplugs. But its not the real experience. These amps have an historical (and too money) value because they became museum masterpieces today. Loud volumes is a thing of old guys. For collectors these are a big deal. For todays use, just take a low wattage amp and mic the speakers on stage.
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Crank the volume, but roll back the guitar volume and you get a killer tone at home use volume. I played a '73 Pro Reverb today with a Strat and it was an instant SRV tone.
Have '70s Silver Face Pro for 30 years now & ts difficult to put in words how good & robust this thing is. Incredible really, just how usable it is in any situation, tho specially in studio. Adapted left channel to right (so ts one channel amp) & miracle. By far the best i have & was using ever. Live - heads turn on tone, really.
Great axe. Great playing. Both amps sound fabulous. Best buy both for stage use ... run through the Twin for your cleans, and footswitch over to the PRO for a bit of dirt!!
Great idea. Uhhh Can you also recommend a Dr. for the hernia you're gonna get lugging both those amps around?
@@reggiewallace260 sure Dr. Z
66 Pro Reverb owner.... I think it sounded warmer as expected to the twin at recording volume.
That Twin sounds incredible
Back when I was a kid and 1st learning guitar, my teach used his gold top L Paul and I used his Ric 360. For amps he used his Ampeg V 4 stack and I used his silverface Super reverb. Made me love the better sound of a Fender amp. Later I got an opportunity to buy a B Egantor modded silverface Twin. Pretty cool amp. Got stolen later. So when my anger subsided and felt like having equipment again I got a used deluxe plus Strat and a pro tube Twin. This was in the mid 90's. Still got both but this Twin is so LOUD that most the time it's unusable. Got other amps since then but still love that straight clean Fender sound. IMHO it's better than my Lab series L 5 also. But not as controllable as my Boogie.
So you play normal lefty guitars and righty guitars with the strings upside down when played left handed ? Pretty impressive.
I play a twin on big stages
A pro on pub tour
And a silver face princeton for everything else.
IMO for what I need they are the best thing out there. I have celestion heavy creamback on one side of my twin tho cause it seems to reduce the over the top, top end. But the rest of mine are faithful rebuilt speakers that originally came with the amps. A good amp negates the need for so many pedals.
A 68 pro, has a blackface circuit
Yes, sure. But it has a diferent rectifier. It’s a tube diode and it cause sag compared to the rectifier silicon diodes of a Twin Reverb. Furthermore, Twin Reverbs has way more headroom. Personally, I prefer less headroom. To me, Pro Reverb win because it is suficient. But the Twin can be configured for less headroom too. Just swap out two output tubes (one per each side of output transformer) and rise up the NFB resistor value to more aggressive tone.
@@emanoelraiffnobrega7419 cool: )
thank you man
I thought the 64 Twin would win easy.....But the 68 Pro is nice too.
Blackface twin for the win!!
My first big amp was an ac30 which I run @ 22w. It got me evicted shortly afterward.
I play clean now and then sure. I do. Honest. I'm struggling to imagine a scenario where anyone needs nigh-100w of volume of anything.
People always say, "back in the day" but even back in the day that was a lot! The weirdest thing about those higher powered amps is they are so brutally directional.
So even playing your outside gig or your auditorium sans PA, it wouldn't work all that well. *shrug
Little known fact a silverface with "black lines" on the faceplate is a blackface circuit from factory!
This may not be true in every case. I have a '68 Twin Reverb (black line) but it has the AC568 circuit. You can tell by the big white caps (cathode) from the 6L6 to ground. Some didn't like this but I can't hear well enough to know the difference.
If your 68 is made before June 68 it has the factory blackface. Mine was made April 68 and is blackface in every detail except the faceplate
@@achysklic Thanks achy. I'm thinking about doing a cap job on my Twin but it sure is tempting to leave it as it left the factory and let another owner do the tuneup. I also have a '65 Pro Rev and a '69 Pro Rev.
If you notice the thin vertical black lines on the silverface that indicates the earliest silverface amps. They only had those black lines for about six months. What does that indicate? You can almost bet that it is a blackface (components) amp. It looks like a silverface cosmetically, but it sounds like a blackface, because it is a blackface inside.
You are right. I can't see the various components that would have date stamps on them, but the AA165 circuit number on the inside of the Pro they shoot past is a Blackface wiring spec. I have the same thing with my Pro Reverb. Has a silverface and I bought it in 1972. But the newest part on it is 1968 and the diagrams and components are all for Blackface specs.
Which one is better for getting a way huge Hendrix- Stevie Ray type tone? Which one gets more crunch, overdrive? Since neither of them have effects loops, how god are they at taking pedals, and does the newer ones that have effects loops sound better with pedals? I am trying to get this all figured out.. Thanks.
Can yo test both of these with a vintage US made Stratocaster and a new US Strat also? Thanks.
Pro Reverb!
What are volume level is the Twin and the Pro Reverb to get that slight growl out of the Gretsch bridge pickup?
Buy a good attenuator you'll have it anytime anywhere you want it!
Do they make the Pro reverb in re-issue? If so what do you think of them? Can you do a test to compare a re-issue Pro Reverb with an original blackface Pro Reverb? and test the overdrive on it also, thanks
There are no reissue pro reverbs, they did make a model later and called it the same thing but it's not the same amp at all. It's channel switching and modern.
There is now!
@@josephbecerra9211 No, that amp is not a reissue. It is a 1x12 with a different circuit, that just carries the same name.
Any chance you can tell us what speakers were in that Twin?
What make of tubes are best for vintage Fender amps?
IF you can afford 'em, NOS GE and RCA ... Blackplates if you can find them and pay for them!
I had a pre CBS Twin. It was shrill and too clean. By the time it would begin to breakup it was obnoxiously loud. The good news is you can load a lot of front end in it and it would perform stellar.
Christ you must be playing loud for that breakup
They breakup at around 4👍
A 68 SF could actually have a BF circuit.
The 65 twin is the obviously better sounding amp. The silverface tonestack always has had a strange midrange crunch. The only silverface amp I've ever heard that really stood out was a deluxe.
the tonestacks are the same in blackface and silverface...they sound different for other technical differences, mostly the output section, not the tonestacks
Hmmm ... I think the PRO was great for a bit of harmonic dirt ...
I feel they didn't spend enough time mic'ing the pro. It's kinda bandwidth limited in tone. They also have b-roll footage of Utah speakers that I suspect are what was in the Pro. Not the best sounding speakers tbh. The Pro Reverb is a beautiful sounding amp in person, th-cam.com/video/n_8E8_jA92M/w-d-xo.html This video I made shows what I mean. It's a very warm sounding amp, not unlike the twin but way looser feeling!
@@Tonetwisters Pro reverb, fuller and a bit darker, melt the facer
Vibrolux can sound good.
Fender Twin Reverb far better classic Fender tone, the pro is good but not greate
Most of the differences are the speakers and output transformer differences
Great amps! But today nobody needs a very loud amplifier. It’s anoying, specially, if they have too harsh and ice picky tones that goes crazy. Ok, I know, we can use attenuators and put some capacitors across the NFB resistor to tame the crazy trebly tones or just get earplugs. But its not the real experience. These amps have an historical (and too money) value because they became museum masterpieces today. Loud volumes is a thing of old guys. For collectors these are a big deal. For todays use, just take a low wattage amp and mic the speakers on stage.
Where there is rock there will always be loud amps, my friend.