1976 Ampeg V4-B

1976 Ampeg V4-B

No problem, Eck. These threads will still be here for the next generation of GFers! By the way, I find that a good warm-up is moving gently and freely up and down the neck using the I have found it better for all around use and can even Pick up a copy of Downbeat magazine; you might find it at your local library for free. Many universities advertise their jazz programs there. You might also try googling “university jazz studies I have been meaning to post and comment on the Brute EQ. The workmanship is top-notch, very solidly built.

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Ampeg has been a huge part of amplifier history, with amplifiers dating back to the mid s that have been used by bands such as The Rolling Stones, Pink Floyd, Television, Booker T and the MG’s, The Clash and others. Ampeg amplifiers have evolved over the decades. Being able to place specific products in their time period is a great way to assess value and impress fellow gearheads. Ampeg did utilize serial numbers when producing their amps, but these numbers can sometimes be inaccurate.

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Read the current issue of VG. All used four A output tubes to generate a conservatively rated watts, which can often top watts downhill with a good tailwind… which is to say, when cranked. And though we say this was a rock-intended amp, it was rock as Ampeg intended it — bold, punchy, clear, and ungodly loud. Who could use such an amp today? Perhaps fewer players than back in the day, but, back when it was introduced, it proved to be exactly what plenty of touring pros required, most notably the Rolling Stones.

More accurately, the Stones acquired several prototype SVT bass amps and cabs and, later, several VT amps rather urgently while rehearsing for that tour, after their own amps failed at the hands of U. As such, the band served as beta testers for the new designs. The V Series Ampegs were designed by Dennis Kager, and remain very much within the Ampeg ethos — or, perhaps more accurately, represent an extension and enlargement of that ethos. This individuality is seen in a plethora of oddball tubes employed in the circuit, and some extremely versatile frequency-shaping capabilities in its tone stack and unique sensitivity and voicing switches.

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Ampeg V4. Details and Specs. Manufacture date: Circa Output: watts. Power section: Four s. Bias: Fixed Preamp: Two 12AX7s.

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Tags: ampeg , amplifier , electric , guitar , head , play , ready , tube , vintage. This entry was posted on Tuesday, February 12th, at am and is filed under vintage. You can follow any responses to this entry through the RSS 2. Both comments and pings are currently closed. Vintage Tube Amp. Vintage Ampeg V4 electric guitar tube amplifier V-4 head ready to play.

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Forgot your password? So, I got my Ampeg V4 head last week, and the thing sounds fantastic. Lots of bite and volume– the cleans on this amp sound miles better than my old Bassman and it just loves pedals. So, now I’m trying to find out more information on the amp, just for kicks.

It is from Italy, and looks, feels, smells, just like the JG Italians. Unbelievealby good player. Vintage ‘s Ampeg AMUB-1 Fretless Electric Bass Guitar.

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’72 Ampeg V4 Halfstack – Vintage Pro Touring Rig

Order by:. Available to:. The reverb sounds great and includes the original Ampeg labeled footswitch for turnig it on or off. This particular example is in very good condition and has been recently serviced with new JJ power tubes and a NOS 6K11 preamp tube.

Those of you in the know will recognize that the Ampeg V4 from the early 70’s may with a special penciled note dating that particular addition to the year

Photo by Bruce S. Details and Specs. Despite its striking resemblance to vintage Ampeg SVT and current-production V-4B reissue bass heads, the original V4 was actually intended for guitar. It offers a lot of unusual ways to tweak operation, and as I reviewed the schematic during subsequent repairs I became more and more intrigued. For starters, it has an extremely unique tube complement in both the preamp and the power stage.

Two 12AX7s drive the front end, which has a passive James tone stack—an interesting circuit with a pair of filters that have an almost notching effect at lower settings, but that instill a bit of character when set flat, and offer a surprising boost when cranked. A 12DW7 valve which is similar to a 12AU7 drives the preamp-out and power-amp-in connections—two flexible options that, even today, are pretty specialized and forward thinking. The V4 also uses a solid-state rectifier and offers separate taps for screen voltages on the power transformer.

If you want to brutalize your audience with thunderous lows, this amp has you covered—especially through something like an old Kustom 2×15 speaker cabinet. The driven power section stays pretty clean throughout the travel of the volume controls, although higher settings do elicit a pleasing distortion with glassy top end but no hint of harshness. Even aggressive tones remain smooth and creamy. The tone controls offer incredible flexibility, and at higher settings they can have a big impact on the amount of drive available.

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Ampeg is a manufacturer best known for its bass amplifiers. Although specializing in the production of bass amplifiers , Ampeg has previously manufactured guitar amplifiers and pickups and instruments including double basses , bass guitars , and electric guitars. Everett Hull born Charles Everitt Hull , a pianist and bassist working with bandleader Lawrence Welk in Chicago, had invented a pickup for upright bass in an effort to amplify his instrument with more clarity.

Hull’s design placed a transducer atop a support peg inside the body of his instrument, inspiring his wife Gertrude to name the invention the “Ampeg,” an abbreviated version of “amplified peg. Patent 2,, was awarded the following year. The Hulls relocated to New Jersey, and Everett met electrical engineer and amp technician Stanley Michael, who was selling a bass amplifier of his own design, soon renamed the Michael-Hull Bassamp. Michael left the company in , leaving it to Hull, who relocated the company the following year to 42nd Street in Manhattan, above the New Amsterdam Theatre , renaming it “The Ampeg Bassamp Company.

Additionally, Eddie Safranski signed on with Michael-Hull to promote Ampeg products , receiving a royalty payment for equipment sold by their influence. In , local musician and electrician Jess Oliver visited Ampeg’s offices to purchase an amplified peg, and upon easily making the installation himself, Hull offered him a job. Oliver didn’t join Ampeg on a full-time basis until , the same year that Ampeg’s name was simplified to “The Ampeg Company.

In , Ampeg introduced the B, a bass combo amplifier with an innovative flip-top function, invented and patented by Oliver. The B was the first in the company’s Portaflex series, and after becoming the preferred studio amp of session musicians like James Jamerson and Chuck Rainey. The B and its subsequent variants went on to become the most-recorded bass amplifier in history.

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