Know Your Ampeg Bass Amps
Learn the Differences and History of Three Iconic Ampegs
Ampeg bass amps are so universally revered, it’s hard to imagine a time when they weren’t synonymous with electric bass amplifiers. But what started from a modest idea — literally, an “amplified peg” that would install into an upright bass — in Everett Hull’s modest shop in Midtown Manhattan in the 1930s, has become a towering name in the world of bass amplification.
The three Brainworx-developed Ampeg bass amp plug-ins available exclusively for UAD hardware and UA interfaces are the bedrock of the thundering Ampeg legacy and nearly every bass amp that came afterward. Each of these amps remain a staple in studios and stages around the world — with the UAD Ampeg plug-ins delivering spot-on results — and they each give you a different flavor of classic Ampeg bass tone.
Here, we decode what makes each of these iconic tone machines tick, and delve into the different components that contribute to each amp’s distinct, glorious rumble.
1960. Ampeg B-15
Forever associated with Motown bass legend James Jamerson, as well as Stax low-end kingpin Donald “Duck” Dunn, the Ampeg B-15 Portaflex (short for “portable reflex cabinet”) features a distinctive “flip-top” 30-watt all-tube head, complete with classic two-band Baxandall EQ, that could live inside the double-baffled 1x15 cabinet (typically a Jensen P15N speaker) while travelling, and flip upright to sit atop the cabinet during recording or gigs.
With its clever “tube cage,” the amp’s pair of 6L6 power tubes and three 6SL7 preamp tubes are kept out of harm’s way while the head was inside the cabinet. More importantly, the B15 sounds warm, round, and resonant — as suitable for jazz and soul players as it was for the growing army of rock and garage band aficionados.
Ampeg’s Heritage Series B-15N added a few key twists to this legendary design, notably the introduction of two separate preamp sections: one modeled after the spongier, quicker-to-distort 1964 preamp, a 25-watt cathode-based circuit; and the other the slightly cleaner and midrange-forward 1966 version, built around a 30-watt, fixed bias design. What’s more, each preamp’s selectable bias mode can be used with either preamp, allowing for even more subtle tone shaping.
The B-15N boasts a powerful twin-6L6 power section, three 12AX7 preamps, and a 5AR4 tube rectifier, along with an Eminence 15” speaker. The B-15N’s distinctive “double-baffle” porting is especially worthy of note, as it’s a revolutionary porting system that originated in 1960, and would be used for almost two decades of the combo’s stunning initial run, and is still used in Ampeg’s more recent Heritage B-15N reissues.
Listen to the Ampeg B-15N Bass Amplifier plug-in for UAD-2 and UA interfaces and dig how it perfectly emulates the classic thump of this coveted amp.
1969. Ampeg SVT-VR
As guitar amplifiers were getting bigger and louder toward the end of the ’60s, Ampeg — best known for compact amps with lots of clean headroom — jumped into the fray, debuting a massive new amp at the 1969 NAMM show, designed by Bill Hughes, that would become their best recognized, flagship bass amp for years to come: the 85lb, 300-watt RMS behemoth known as the Super Vacuum Tube, or SVT, which was designed to be paired with — not one — but two gigantic 8x10 Ampeg cabinets. Indeed, the SVT’s unprecedented power output raised concerns at the time about Ampeg’s legal liability, leading the company to ship SVTs with an ominous warning label: “This amp is capable of delivering sound pressure levels that may cause permanent hearing damage.”
As Ampeg’s Roger Cox has said of the beast, “We were going to build the biggest, nastiest bass amplifier the world had ever seen.” Ironically, though it’s now recognized as the essential big-venue bass amp, and was certainly designed as a bass amp, it wasn’t until 1974 that Ampeg officially listed the SVT specifically as a “bass amplifier.” Indeed, the Rolling Stones arguably put the SVT on the map in 1969 by taking a fleet of them on the road — paired with a variety of cabinets, including 4x12s and 2x15s — as both guitar and bass rigs for their world tour of that year.
Thus, what began as a slightly eccentric, even dangerous deviation from Ampeg’s more sober product line became the signature workhorse of the Ampeg brand, with a sound — fleshy, full of midrange growl and deep, resonant lows — that fills out rock and reggae mixes like nothing else.
The original SVTs from the late ’60s and ’70s were two-channel affairs, using a grand total of fourteen tubes, requiring a filament transistor and a cooling fan to keep the heat at manageable levels. These included six 6550 power tubes along with 12DW7 preamp tubes (eventually changed to 12AX7s). The SVT-VR (for “Vintage Reissue) retains most of the 70s classic’s feature set and styling — including two-channel operation, both bright and normal inputs, “Ultra Hi,” “Ultra Lo” and, for Channel 1, a “Bass Cut” switch and a midrange frequency select switch that allows users to craft their midrange timbre around either 220Hz, 800Hz or 3k center frequency. That combination of sheer power, timbral richness, and tonal control is why players from Roger Waters and Bootsy Collins to Tony Levin and Chris Squire leaned on the classic SVT live and in the studio.
Hear how the Ampeg SVT-VR Bass Amplifier plug-in for UAD-2 and UA interfaces not only captures the beastly roar and rock solid tone of the most popular bass amp ever, it also expands on it with various cabinet choices.
The ’80s & Beyond. Ampeg SVT-3 Pro
With its single channel, hybrid solid-state power amp and tube preamp sections, rackmount design, and onboard 9-band graphic EQ, the SVT-3 Pro, designed by Dave Pepmiller, is an entirely different kind of SVT. Still, with up to 450 watts of RMS power output and the same type of low and high boosts that make the SVT-VR such a workhorse, it offers much the same sonic boom — and arguably a tighter sound, more conducive to soloing, modern rock and metal, and brighter, funkier parts — at less than a third of the overall weight and about half the size of the all-tube SVT.
Jettisoning one channel of the older SVT allowed the SVT-3 Pro (inspired and designed in the mold of the earlier SVT-II) to add a footswitchable graphic EQ, along with an expanded 5-position midrange control — with a choice of center frequencies at 220Hz, 450Hz, 800Hz, 1.6kHz, and 3kHz — for even more surgical timbral crafting.
Perhaps the SVT-3 Pro’s two coolest features, though, are the Gain and the Tube Gain controls. Gain varies the amount of signal driving the preamp, allowing for effortless introduction of rich harmonic saturation from the amp’s phalanx of four 12AX7 preamp tubes. Tube Gain, meanwhile, varies the high voltage to the preamp tubes, for a more compressed and thicker sound at low levels, to an explosive, highly dynamic tone at the upper end — especially if you crank the amp’s power section at the same time.
The Tube Gain control is super useful for virtually any genre, really letting those nuances of your playing shine, but it’s surely not for the faint of heart. Which is perhaps why guys like Metallica’s Robert Trujillo and Primus’ Les Claypool swear by the SVT-3 PRO.
Check out how the Ampeg SVT-3 PRO Bass Amplifier plug-in emulates this modern rackmount classic to a “T,” elegantly modeling the wide array of tone sculpting controls, as well as its hybrid power section.
— James Rotondi
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The Ampeg™ Story
Having a conversation about the greatest bass amplifiers of all time that doesn’t include Ampeg would be like trying to have a serious conversation about the greatest R&B singers without mentioning James Brown.
Ampeg’s influence on the world of bass amps cannot be overstated, but their bold concepts had a humble start. The company was founded back in 1946 when a 42-year-old upright bass player and jazz aficionado named Everett Hull stuck a microphone inside his bass and connected it to a radio. His wife dubbed the invention “Ampeg” because the transducer, or pickup, inside the bass was attached to the peg that supported the instrument. “Amp” + “peg.” Get it? Clever gal.
Hull successfully spread the word about his creation to bassists in big bands around New York City, who became intrigued by the idea of using his new-fangled pickup to amplify their sound. Their burgeoning interest meant Hull needed to quickly jump-start his production, leading him to form a short-lived company called Michael-Hull Electronic Labs with an amp designer named Stanley Michael.
In addition to selling Hull’s “Ampeg” pickup, they also sold a product called the “Michael-Hull Bassamp.” Although the company dissolved in 1948, Hull was convinced that he was onto something big and doubled down, expanding his rag-tag operation — now known as the Ampeg Bassamp Company — into a small New York City midtown location that gave him close proximity to numerous nightclubs and studios.
Hull and his new amp designers continued to refine and enhance new, better-sounding and more powerful bass amps. As endorsers signed up for the original pickup and the new amps, up-and-coming players took notice, and by the early 1950s, the Ampeg name began to take root. Interestingly, around the same time, a small number of companies started experimenting with related ideas for an electric bass. But Hull — whose musical taste was far more conventional than his inventions would suggest — didn’t think the electric bass concept had much of a chance. He was a jazz guy, after all.
The initial Michael-Hull Bassamp (aka the Model 770) slowly evolved through the early 1950s, incorporating larger speakers, more power, more expansive tonal control and cabinet porting. Innovative amps for guitarists and accordion players followed, but Ampeg’s first major success came with the arrival of designer Jess Oliver in 1956.
It took a while for Hull and Oliver to hit their stride together, but they knew they were onto something special with the 1960 birth of the Ampeg B-15 Portaflex, with its unique “flip-top” design. The B-15 was an immediate game-changer. Its design and sound relegated all other bass amps that came before it (and arguably many others that came after) to the toy bin.
By today’s high-powered standards, you might think this cute, boxy-looking amp should never leave the bedroom, but as thousands of recording studios and bassists throughout the decades can attest, the B-15 was and still is the gold standard for bass tone.
Although it went through many design changes and derivations between 1960 and 1980, all of the versions of the B-15 generally fit the same basic description: a tuned, double-baffle cabinet with a closed-back, featuring a sweet-sounding heavy-duty 15-inch speaker and a separate, shock-mounted tube laden amp head crouched on top of a dolly.
Still highly sought after by bassists young and old, the B-15 remains an important sonic benchmark in the music world. Today, Ampeg carries on the B-15’s rich legacy with the limited edition Heritage™ Series B-15 and the Portaflex™ Series of individual heads and cabinets, both of which marry undeniably cool design with an overarching vintage aesthetic.
The B-15, which was soon joined by the less renowned SB-12 and B-18 flip-top models (which provided 12″ and 18″ speakers, respectively), was the most prominent bass amp that Ampeg offered during the 1960s. Thanks to an influx of cash that came from taking the company public in 1963, other innovations for the lower clef were soon to follow.
Some were not exactly stunning successes. The Baby Bass, an upright instrument made from fiberglass that was small enough to be transported in a car seat (rather than tied onto the roof), wasn’t as well received by symphonies as Hull had hoped it might be, though it did meet favor with some Latin bands of the era. Nonetheless, Ampeg continued to dabble with adding instruments to its line, including a series of “horizontal” basses with scroll-shaped headstocks that never gained much traction, though they were used by Rick Danko of The Band and are prized by collectors today. But even after moving into a larger production facility to increase its capacity, the company remained poorly positioned to take advantage of the rock-and-roll craze of the ’60s largely because of Hull’s preference for jazz’s pure tone and his disdain for anything related to the rock genre.
By 1966, Ampeg’s sales and ever-expanding product line were cracking under the pressure caused by the company simply being out of step with the popular music of the era. First, Oliver left, and by the end of 1968, Hull himself had resigned from the company he had founded. New management was in place, new ideas were being bandied about, and in early 1969, a huge one took the music world by storm.
The Super Vacuum Tube amp, or SVT™ for short, was a 300-watt behemoth designed to sit atop a massive 8 x 10″ cabinet to deliver one of the most breathtaking bass sounds imaginable. Prior to the SVT, Ampeg’s most powerful amp had been the 55-watt B-25 (a tone monster in its own right), but when the SVT debuted, all conceptions of power and volume were shattered. The SVT was the first bass amp truly capable of handling arena rock volume and tone, and it remains synonymous with that ethos today, as seen and heard in Ampeg’s Heritage 50th Anniversary SVT as well as the Heritage SVT-CLamp paired with an SVT-810E cabinet. In addition, the Ampeg Classic Series offers a number of amp heads and cabinets inspired by the original SVT.
There probably aren’t two amps that could be more different than the B-15 and the SVT — designed nearly a decade apart by two entirely different teams — yet both are legendary in their own right. It’s a circuitous path from Everett Hull’s mic on a stick inside his upright bass in 1946 to the luscious B-15 of the early ’60s to the massive grinding sound of a modern-day SVT, but that path is a glorious one.
Ampeg changed corporate hands various times throughout the decades, and in 2018 the company became part of the Yamaha Guitar Group family. Yet the thread running through from 1946 to today remains intact. Ampeg’s history is one of building top-quality, innovative amps for serious bassists. You see it in the older amp designs just as you see it today in Ampeg’s modern SVT Pro Series, Bassamp Series and ProNeo enclosures. It’s the same unwavering focus on pure tone and power that has my basement loaded with new and vintage Ampeg gear, and I know I’m not alone. That would probably make Hull quite proud … just as long as no one told him we are all using his amps to play loud rock music. Savages.
Want to know more about the history of Ampeg? Check out the video:
Check out Michael’s other “Back to Bassics” blog posts.
Click here for more information about the history of Ampeg, and also check out the book “Ampeg: The Story Behind the Sound,” by Gregg Hopkins and Bill Moore.
Click here for more information about Ampeg products.
Bass guitar amplifier
The Ampeg SVT is a bass guitaramplifier designed by Bill Hughes and Roger Cox for Ampeg and introduced in 1969. The SVT is a stand-alone amplifier or "head" as opposed to a "combo" unit comprising amp and speaker(s) in one cabinet, and was capable of 300 watts output at a time when most amplifiers could not exceed 100 watts output, making the SVT an important amp for bands playing music festivals and other large venues. The SVT has been through many design changes over the years but is still in production today. While the SVT could be used with any 300 watt, 2- or 4-ohm cabinet combination, Ampeg recommended that it be used with a pair of sealed 8x10" speaker enclosures because one cabinet could not handle the power of the SVT. It wasn't until 1980 that the speakers in the enclosures were updated to a power handling rating of 350 watts, allowing a player to use an SVT head with only one cabinet!
SVT originally stood for Super Vacuum Tube, but Ampeg has since revised the meaning of the acronym to Super Valve Technology, with the word "valve" referring to the vacuum tubes (called "valves" in Britain and some other regions) used in the amp.
Following Unimusic's acquisition of Ampeg in 1967, the new company management was actively pursuing the rock market, opening offices in Chicago, Nashville, and Hollywood, and developing products designed to address the needs of rock musicians. When The Rolling Stones began rehearsing for their 1969 U.S. Tour in Hollywood, a power conversion failure blew up all of their UK Fender amplifiers. Their road manager, Ian Stewart contacted Rich Mandella at the Ampeg office in Hollywood, and Rich arranged for the band to use five prototype high-output amplifier heads of a new model being developed by Bill Hughes and Roger Cox. These new amps employed a 14-tube design to generate 300 watts of power in an era when most tube amps generated less than 100. The Rolling Stones took these prototype Ampeg amps on tour along with Rich Mandella, playing all guitars and basses through them for the entire tour. After the tour, Ampeg put the SVT into production, introducing it at the NAMM Show in 1969.
Ampeg SVT Classic
(black face & grill)
There are three types of original SVT amps. The first are the "blue line" SVTs, so named after the blue screen printing that surrounds the tone controls. Early 1969-70 "blue lines" used 6146Bbeam powervacuum tubes in the output stage, which proved unstable and was switched to the more robust, reliable and commonly-used 6550 tube around mid-1970.
The second version of a vintage SVT is what is called the "black line" SVT, earning its name from the black (rather than blue) faceplate screen printing. Like the later-revision "blue lines" models, the "black line" SVTs utilize 6550 power vacuum tubes instead of 6146Bs. Later 1970s models have the same features as the "black line" SVTs, except the lines around the tone controls have rounded corners and curve into the tone controls. Additionally, these models included 3-prong power cables, and did not include a polarity switch.
In the early 1980s, Ampeg was bought by Music Technologies, Inc. (MTI), which contracted to have SVTs manufactured in Japan. While MTI-era SVTs are mostly identical to the previous versions, they did have differences. Cosmetically, MTI SVTs have black faceplates with white lettering, black grill cloth, "elephant hide" or rougher textured tolex, and rack case-style spring-loaded handles, updated from the previous (and painful) rubber-covered metal strap handles. These SVTs also include a back panel selector toggle for 2 or 4 ohm speaker impedance loads and a longer and thicker gauge 3-prong power cable. Additionally, some components, such as the transformers, on MTI-era SVTs are of Japanese origin as opposed to the original SVT transformers made by Chicago-based ETC.
In 1986, St. Louis Music acquired the rights to the Ampeg name and took possession of all remaining MTI inventory, which contained enough original components to build 500 amps. These 1987 Limited Edition SVTs were built in the U.S. by SLM's own Skunk Works crew, and each included an engraved panel indicating the unit's number within the production of 500 total units. In 1990, Ampeg introduced the SVT-II and SVT-II Pro, and in 1994, introduced the SVT-CL (Classic).
In 2005, LOUD Technologies (now LOUD Audio, LLC) acquired St. Louis Music, including Ampeg. Under LOUD's management, production of Ampeg and versions of SVTs and cabinets was moved to Asia. In 2010, Ampeg introduced the Heritage Series line, manufactured in LOUD Technologies' facility in Woodinville, Washington, including the Heritage SVT-CL head and SVT-810E and SVT-410HLF cabinets. The updated head featured JJ-branded preamp and driver tubes and "Winged C" 6550 power amp tubes, all tested and matched by Ruby Tubes in California, along with a thicker 1.6mm two-layer printed circuit board with through-hole plating and increased copper weight.
In May, 2018, Yamaha Guitar Group acquired Ampeg from LOUD Audio. Ampeg continues to manufacture and sell Heritage Series and SVT Pro Series models of SVT.
Tubes and modifications
The SVT amps with 6146B tubes tend to put out a bit more power as well as have a more pronounced grind in low mids, as opposed to the more round, deeper bass sound provided by SVTs with 6550A tubes. This sound characteristic is mostly due to 6146 being much lower in transconductance and less sensitive to drive signal, requiring a higher level from the Pre-amp, which can create more "harmonic growl."
The issues with the earliest version of the SVT were in the early design of the driver circuit, not the 6146B tube which is a stable and reliable tube. The earliest SVT driver circuit's design would on occasion result in blown 6146B tubes. Because the front end 12BH7 voltage amplifier is fed from the 430 V node, during loud transients and overloads this will produce an AC signal that far exceeds the 12BH7 follower that has 220 V on the plates. So when the follower grid is driven well over its own plate voltage, it saturates on the positive half of the signal and thus takes over the BIAS voltage, forcing it very positive. The time for this voltage to come back to normal is based on the time constant of the 150 kΩ mixer resistors and the coupling cap - but by this time it is too late, the bias is pushed too far into the positive and the current gets pushed through the 6146, resulting in blown tubes.
Some users have an electronics technician re-wire the 12BH7 feed the same as on the later 6550 heads. By adding a 1K and filter cap feeding from the 220 V screen supply to the front voltage amp of the 12BH7, a 6146B tube runs reliably with far fewer issues. However, conversion of 6146B to 6550 tubes also has a dramatic impact on the output power. The amp will produce roughly 225 watts, due to the screen voltage being too low. As such, the power transformer of a 6146B SVT will be about 220 V DC on the screen supply at idle instead of the typical 350 V idle screen voltage normally seen on 6550 amps. One solution is wire the screens in a voltage double arrangement, which will end up at roughly 400 V screen voltage at idle. This will make for a very powerful 400 W SVT. Conversion from a 6550 tube to 6146B tube is a bit trickier, as the 6146B will not tolerate anything over 250 V on the screens or else it will arc over. Some amp technicians prefer to disassemble to PT and tap the windings from the side of the bobbin to create a lower voltage taps. Other methods are to use voltage regulation.
The SVT's pre-amp is notorious for ground loop hum. Re-wiring and separating the audio ground shield from the power return ground lead in the MOLEX connector is one solution.
Diodes were later used to by-pass the 22ohm screen resistors. In the event of a tube short failure or simply a transient overload condition the diode will conduct once the current in the 22ohm screen resistor reaches 30mA and beyond, preventing further burning of the PCBA. The diode will clamp the current in the 22ohm screen resistor to 30mA, so preferably the plate resistor will blow, since the plate resistor is acting as a "fuse".
Plate resistors should be kept off the circuit board by approx 1/2" min to prevent PCBA burning. The diode is taking on the current surge to protect the 22 Ω resistor, however the peak over current in the diode can only sustain for a short duration. The 6550A version usually idles with roughly 700 V DC on the plate and 350 V DC on the Screens (though during full clean sine wave 300 W power output, operating voltages will dip to roughly 650 V DC on the Plate and 325 V on the Screens). The output transformer plate load is 1.6 K at 4 Ω tap and 1.75 K at the 2 Ω tap.
- ^Hopkins, Gregg; Moore, Bill (1999). Ampeg: The Story Behind The Sound. Milwaukee, WI, United States: Hal Leonard Corporation. pp. 125–139. ISBN .
- ^"Classic Series Bass Heads and Enclosures". Ampeg. Archived from the original on 28 May 2009. Retrieved 2009-06-03.
- ^Massey, Sylvia. "Gear Stories With Sylvia Massey: Her Satanic Majesty's SVT Beast: The Dangerous Ampeg Tone". MixOnline. Future plc. Retrieved 29 April 2019.
- ^"Learn the Differences and History of Three Iconic Ampegs". Universal Audio. Universal Audio. Retrieved 29 April 2019.
- ^Henry, John Paul. "American Muscle: The Ampeg SVT". voodooguitar.net. John Paul Henry. Retrieved 29 April 2019.
- ^Herrera, Jonathan. "A Brief History of Bass Amplification". Bass Player. Future Publishing Limited. Retrieved 29 April 2019.
- ^Fliegler, Ritchie; Eiche, Jon F. (1993). Amps! The Other Half of Rock ’n’ Roll. Milwaukee, Wisconsin, U.S.: Hal Leonard Publishing Corporation. p. 38. ISBN .
- ^Kies, Chris. "1969 Ampeg SVT Head and 8x10 Cabinet". Premier Guitar. Gearhead Communications, LLC. Retrieved 29 April 2019.
- ^Pittman, Aspen (2003). The Tube Amp Book. London, England: Backbeat Books. pp. 98–99. ISBN .
- ^Bober, Jeff. "Ask Amp Man: Limited Edition Ampeg SVT". Premier Guitar. Gearhead Communications, LLC. Retrieved 29 April 2019.
- ^Herrera, Jonathan. "Ampeg Heritage SVT-CL, SVT-810E, & SVT-410HLF". Bass Player. Future Publishing Limited. Retrieved 29 April 2019.
- ^Berk, Brian. "Yamaha Acquires Ampeg". Music & Sound Retailer. Music & Sound Retailer. Retrieved 29 April 2019.
- ^Pittman, Aspen (2003). The Tube Amp Book. London, England: Backbeat Books. pp. 132–133. ISBN .
Designed and assembled in the U.S.A. out of the best possible components, Heritage represents the pinnacle of classic Ampeg tone and styling.
Modern, lightweight neodymium-based enclosures that deliver massive low end in a package that’s portable, powerful and seriously road-worthy.
The Classic Series is all about the Ampeg SVT. We pioneered Super-Valve Technology in the 1960s and continue to offer the ultimate, top-performance gear to the world’s most demanding bassists.
The Pro Series delivers the power and tone required by today’s modern bass players. Pro Series heads feature tube preamps and expanded EQ capability. Enclosures reproduce the entire tonal spectrum for true high-fidelity sound.
Portable, powerful and affordable, Ampeg’s Portaflex Series combines the vintage styling of Ampeg’s iconic flip-top cabinet design with a selection of modern, lightweight heads and legendary all-tube tone. It’s legendary history in a modern design.
From the 30-watt RB-108 practice amp to the stage-ready 500-watt RB-210, Ampeg Rocket Bass combos deliver exceptional performance, eye-catching ’60s-style looks, and robust feature sets in lightweight and portable packages, making them ready to rock anywhere—from the practice room to the stage.
Robust foot pedals that deliver the true Ampeg experience. Perfect for the stage and great for home practice.
SVT Suite brings authentic SVT tone to your DAW—with a familiar user experience.
Keep your rig protected or show off your love for Ampeg gear Ampeg accessories.
Completely redesigned, Ampeg’s all-new BA Series Bass Combos deliver a wide range of classic Ampeg tones in modern, performance-driven designs perfect for serious gigging and rehearsal.
Cabinets ampeg bass
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