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拍品专文
This and the following amp were given to Jeff Beck in the 1980s by Fender, who, along with several other guitar and amp manufacturers, were hoping that in doing so he would endorse them through use in his live performances. Whilst we cannot be categorically certain of the specific usage of these two amps in particular, Jeff Beck did use a pair of 80s combos - a Princeton Reverb II in conjunction with a Twin (and corresponding back-ups for each) - to record his 1989 album Guitar Shop, with keyboardist Tony Hymas and drummer Terry Bozzio.
Speaking to Steve Rosen in 1989 Beck confirmed 'There's a Fender Twin and Fender Princeton on 90% of the album', with the exception of a Marshall 100W head used 'for the blues. I couldn't see playing a hundred-mile-an-hour heavy thing without that combination of a big stack of Marshalls. It wouldn't have worked out on a Fender Twin. I think the Marshall was a 100, but the tops are so beat up and they don't have any badges [insignias] on them.'
Beck later commented: 'I don't know what it was. The Princeton took care of tonal qualities that the other amp didn't have. It has an overload channel, so you can get midrange distortion. I tried recording using just the Twin, but without the Princeton the sound vanished. Leif [Mases, recording engineer] noticed it right away and said, 'The sound isn't as good. You've got to put the Princeton back on.'"
Mases reported that Beck used two pairs of Princetons and Twins: 'We had one of each in the control room and one of each in the studio. At times we would use the ones in the control room as heads and the ones in the studio as speakers. Other times we split the signal and used the control room amps as monitors, especially if we wanted to generate feedback.' Beck plugged into his stage setup occasionally, which consisted of a late 60s Marshall 50-watt head (see lot 2), a rat distortion pedal and a Boss DD-2 Digital Delay. He played several Fender Strats and Teles, including his then favourite vintage Strat, a 'Frankenstein' put together by Seymour W. Duncan from 'the best bits he had lying around' (see lot 36) and the latest Strat Plus which would soon evolve into the prototype for his first Signature model equipped with Lace Sensor pickups and a Wilkinson roller nut, the latter proving to be the key element in helping him stay in tune while he executed the otherworldly whammy bar work on 'Where Were You'. Even with such a small setup, Beck was able to create a vast array of sounds. The secret, said Mases, was Beck himself. 'Jeff is an instrumentalist, but he isn't into equipment. His sound comes from his fingers more than anything. He gets a variety of sounds through his playing, and he can sound like himself no matter what equipment he's using. He's a true master of the instrument.'
When later interviewed by Lisa Sharken for Guitar Player in May 1999, Beck stated 'There's a combination that worked really well for Guitar Shop album - A Fender Twin and a Princeton wired in series. If you switched off the Princeton, a throatiness in the tone disappeared, and the sound sucked without it.'
The Fender Twins would also be employed on the subsequent Guitar Shop Tour with Stevie Ray Vaughan. Beck told Sharken: 'our rigs were like total opposites. I was using a Fender Twin with one spare for emergency purposes, and Stevie just could not understand what was going on. He had this massive rig with about six amps linked together, and his sound was so rich and full.' When discussing this less-is-more approach with Art Thompson in June 2010, Beck reiterated: I've done a whole tour with a Fender Twin when Stevie Ray Vaughan was going through about four billion watts with a rig that looked like an amp shop. He asked me, "What the hell are you using? Are your amps under the stage?" I said, "Nope, that's it right there."
Speaking to Steve Rosen in 1989 Beck confirmed 'There's a Fender Twin and Fender Princeton on 90% of the album', with the exception of a Marshall 100W head used 'for the blues. I couldn't see playing a hundred-mile-an-hour heavy thing without that combination of a big stack of Marshalls. It wouldn't have worked out on a Fender Twin. I think the Marshall was a 100, but the tops are so beat up and they don't have any badges [insignias] on them.'
Beck later commented: 'I don't know what it was. The Princeton took care of tonal qualities that the other amp didn't have. It has an overload channel, so you can get midrange distortion. I tried recording using just the Twin, but without the Princeton the sound vanished. Leif [Mases, recording engineer] noticed it right away and said, 'The sound isn't as good. You've got to put the Princeton back on.'"
Mases reported that Beck used two pairs of Princetons and Twins: 'We had one of each in the control room and one of each in the studio. At times we would use the ones in the control room as heads and the ones in the studio as speakers. Other times we split the signal and used the control room amps as monitors, especially if we wanted to generate feedback.' Beck plugged into his stage setup occasionally, which consisted of a late 60s Marshall 50-watt head (see lot 2), a rat distortion pedal and a Boss DD-2 Digital Delay. He played several Fender Strats and Teles, including his then favourite vintage Strat, a 'Frankenstein' put together by Seymour W. Duncan from 'the best bits he had lying around' (see lot 36) and the latest Strat Plus which would soon evolve into the prototype for his first Signature model equipped with Lace Sensor pickups and a Wilkinson roller nut, the latter proving to be the key element in helping him stay in tune while he executed the otherworldly whammy bar work on 'Where Were You'. Even with such a small setup, Beck was able to create a vast array of sounds. The secret, said Mases, was Beck himself. 'Jeff is an instrumentalist, but he isn't into equipment. His sound comes from his fingers more than anything. He gets a variety of sounds through his playing, and he can sound like himself no matter what equipment he's using. He's a true master of the instrument.'
When later interviewed by Lisa Sharken for Guitar Player in May 1999, Beck stated 'There's a combination that worked really well for Guitar Shop album - A Fender Twin and a Princeton wired in series. If you switched off the Princeton, a throatiness in the tone disappeared, and the sound sucked without it.'
The Fender Twins would also be employed on the subsequent Guitar Shop Tour with Stevie Ray Vaughan. Beck told Sharken: 'our rigs were like total opposites. I was using a Fender Twin with one spare for emergency purposes, and Stevie just could not understand what was going on. He had this massive rig with about six amps linked together, and his sound was so rich and full.' When discussing this less-is-more approach with Art Thompson in June 2010, Beck reiterated: I've done a whole tour with a Fender Twin when Stevie Ray Vaughan was going through about four billion watts with a rig that looked like an amp shop. He asked me, "What the hell are you using? Are your amps under the stage?" I said, "Nope, that's it right there."