JIM CAMPILONGO- ROY BUCHANAN TECHNIQUES- VOLUME ONE

ROY BUCHANAN TECHNIQUES VOLUME ONE
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Tags on the amp? They are simply ID tags, like what's on a suitcase. Why? If there are multiple Fenders in Tuki padded cases backstage, or wherever .... the ID helps identify the amp is mine. On different occasions I've had folks innocently walk off with my gig bag, or my amp, thinking it was their own. Additionally the tags have a brief description ("Bobby Blackface") and it reminds me of the character/design/speaker of the amp.
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I put D'Addario EXL120 strings on my Tele, D'Addario EXL110 strings on the Gibson 225, and one Campilongo Signature has D'Addario ECG524 Chrome Flat Wounds, which give it an amazingly smooth tone and feel. On my 1958 Martin 0015 I use D'Addario EJ13 80/20 Bronze Lights. Whenever I can, I champion D’Addario. Not only are their products the best on the market, but they're good people.
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Do I play a Princeton Reverb? Do I recommend the Princeton Reverb Reissue? I own many amps but I prefer the weight, portability and sound of Princeton Reverbs. I own two '66 Princeton Reverbs, and three 70's.
I use one amp mostly- a 1970 Silverface Princeton Reverb with a Celestion G-10 that attains a throaty "compressed" sound. This speaker isn't annoyingly bright so sometimes I'll use it for "jazz" sounds too. ​The G- 10 sounds great right out of the box. celestion.com/...
I also like the 60's "Gold Back" Jensen C-10 N. The more advanced the the Jensen speaker alphabet (as in Q verses N) the less the wattage capacity. The N Jensen C-10 seem to be robust enough to handle maximum volume, de-tuning and whatever else I throw at it. The highs are cutting but still pleasant. The last time I looked - these speakers were very expensive.
I replace the tubes every 6 months/year - and get it serviced often so it's quiet and fully functional. Until the last couple years, I was a NOS ( New Old Stock - RCA, Sylvania, Brimar etc.) tube guy. But I started experiencing NOS tubes getting more and more inconsistent and meanwhile - more expensive. Not a good combination. I converted - I use JJ's. They are good enough.
Half the battle is keeping a vintage amp maintained. I know of recording studios who proudly boast a catalog of 15 amp models - and my experience is, they have 15 amps that need to be serviced/cleaned.
I did endorse the Fender Princeton reissue and I think the folks at Fender did a great job. I'm proud to endorse the amp. A video of what I have to say about the reissue can be found here • Jim Campilongo Fender ...
That said, one can't go wrong investing in an older Princeton Silverface Reverb. Though the Blackface Princeton Reverb amps sound great and are a good investment, the Blackface amps have gotten a bit pricey. For a little more money above the Princeton Reissue market value, the Silverface Princeton Reverb will hold their value, and they sound great. A new vintage acquisition will usually require some general housecleaning by my amp tech, Pat at Main Drag Music/Brooklyn.
Because of tube inconsistency and wear, I forego the Princeton Reverb reissue as backline. Given a choice I request the Deluxe Reverb Reissue. The Deluxe will have enough headroom no matter how tired they are from rental company usage, and they sound great on 10. I’m a proud owner of the Deluxe Reverb Reissue. I think these are underrated and affordable amps. That said, if you never leave the apartment and want some speaker break up, the Deluxe Reverb Reissue might not be for you. As I said, they perform wonderfully- when cranked.
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