Ampeg Skunkworks SVT

Ampeg Portaflex In the late s Jess Oliver invented [8] a combo amplifier with a chassis that could be inverted and tucked inside the speaker enclosure to protect the vacuum tubes. This combo bass amp was introduced in as the Portaflex , and remained a popular choice through the s. Characteristics[ edit ] A particular characteristic of Ampeg amplifiers in the s is that they were designed to be used for jazz and other types of music where distortion was not sought after — as Everett Hull had a major contempt for rock and roll music, and his hope that it being merely a “passing fancy” never materializing, had merely manifested his dismissive attitude towards the genre. The closest they came to a rock’n roll endorser at one point, was by way of Joe Long , a left-handed bass player of the Four Seasons , who played the company’s Horizontal Bass. This was further compounded by the one chief competitor Hull disliked the most; Fender , as they continually bested Ampeg in overall sales. Hull would grudgingly acknowledge rock’n roll music, via advertising copy for Ampeg’s “Supercombo” bass amp, introduced in Reverberocket[ edit ] Ampeg R R Reverberocket The Reverberocket would become another exception to that rule, as an amplifier with 6V6 -type power tubes which sounded “Fendery” and did break up in a way that rock and roll players could use. Dan Armstrong After Ampeg was sold to Unimusic in , Dan Armstrong would be brought on board, and along with the opening of regional offices in places like Nashville, and the West Coast, the company’s previously stodgy image would be dealt with, once and for all, especially with the creation of the all-new SVT amp, which would be “field-tested” by the Rolling Stones during their concert tour.

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Had new power cable and new handle installed, faulty tube replaced and broken tremolo brought back to life. This amp sounds beautiful and is surprisingly light for its size. Vintage item in excellent shape.

Ampeg SVT-DI This is a high quality tube bass DI box that supplies wonderful punchy / warm / clear tube bass tones to a mixing console and / or your solid state bass amplifier This unit .

The book contains, in addition to an in-depth history of the Ampeg company, more useful technical information on the variations in Ampeg amplifiers, including color depictions of the various cabinet coverings and grill cloths. Click here for information on ordering this book directly from the authors. Dating Ampeg Amplifiers Ampegs can be divided into six distinct groups for dating purposes: Each group uses a unique serialization scheme that can be used to assist in dating the amps, but in many cases, it is the features and characteristics of the amps that determine the year of manufacture.

Electronic Industries Association EIA codes can also be very useful for giving clues as to an amp’s age. These codes can be found on speakers, transformers, pots, capacitors, and multi-section electrolytic “can” caps. Of course, these codes are only applicable to original components, not replacement parts.

Ampeg amplifiers, especially the high-powered amps such as the SVT and V-series, contain lethal voltages even when unplugged and turned off. Therefore, do not poke around in your old Ampeg if you are unfamiliar with amplifier electronics or their operation. A brief summary of the EIA system follows. Shortly after World War II, American electronic component manufacturers began to stamp a semi-standardized code into the parts they produced.

The code contained information regarding the manufacture and date of production. These codes have been used on components including potentiometers pots , transformers, capacitors, tubes, and speakers.

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In trying to determine the approximate dates of manufacture I’ve come across a number of interesting details. First, it seems when anyone asks for information on dates for Marshall cabinets, they are directed to the date codes on the speakers. This works until we find a cabinet that does not have original or any speakers. Then, it seems all bets are off. Having bought, collected, repaired, restored, played, and sold many 60’s and 70’s Fender Amps over the years, I’ve found that there are lots and lots of well documented aesthetic and construction variations that can identify the year of manufacture and sometimes even the month.

Ampeg may very well have used or as the starting point during slow production periods. Nevertheless, for dating purposes, the serial number provides adequate information during this period. For example, an amp with serial number was made in (4), during April (04) and may have been the th amp made that month ().

If you’re not familiar with my site, it’s simple, and you’ll love it or hate it: It’s not a fancy site but it remains unchanged since ’98 and I firmly believe, “if it ain’t broke – don’t fix it. Just click on any underlined text and it should open a picture; if you move your cursor over the pic and there’s a magnifying glass displayed instead of your cursor, click the pic and it will expand it to larger size. I would have called it a Custom 22S or something.

I like the blade so much more than the rotary. A few clear coat indents or scratches but nothing through to the wood. It plays easily with low action and with the Fralin pickup it has a sweeter selection of single coil tones. Would be very at home in a modern country band or, of course, rock or blues. Not a 10 top but on another day I think it could have made the grade.

Fender American Deluxe Pickup Assembly. Mounted on original Fender mint green pickguard. Quick and easy upgrade for your Strat. Super clean – modern take on the old Stingray 1, first released in along with the Stingray Bass.

Price Check! Ampeg SVT Head

Volume, Treble, Bass; Normal channel: Volume, Treble, Bass; shared: 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.

Ampeg Classic SVT HE bass cabinet aka The Fridge Nothing sounds like this cab, it has its on signature , round, and beastly Features-4x 10s, 1 x 15, and a horn. I have a large piece of black tolex I can throw into the deal so you can recover the backside yourself.

This com- pact yet dynamically powerful bass amplifier delivers a sear- ing watts of unsurpassed quality, offering the classic vibrance of tubes as well as contemporary features. We rec- ommend that you go over them before you use the amplifier. Below are some of the outstanding fea- tures of your new amplifier – features which set it apart from the competition! Take your pick from the five cen- ter frequency points available to get just the right midrange voice page 3. Control the dynamics of tonal response characteristics from the power amp; from punchy to compressed page 3.

An independent level control lets you adjust the Graphic EQ volume page 3.

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If you’re not familiar with my site, it’s simple, and you’ll love it or hate it: It’s not a fancy site but it remains unchanged since ’98 so I figure, “if it ain’t broke – don’t fix it. Just click on any underlined text and it should open a picture; if you move your cursor over the pic and there’s a magnifying glass displayed instead of your cursor, click the pic and it will expand it to larger size.

Ampeg: A 5-year, nontransferable warranty on electronics and a 2-year, nontransferable warranty on speakers apply to all SVT Classic and Pro Series, MI amps and cabinets.

Features one channel and two inputs; volume, bright, treble, treble expander, bass, bass expander, bright switch, deep switch, stand-by switch, pilot light for stand-by and operate. This amp was built to play larger halls and outdoor concerts. The lack of reverb was not a big issue as most live performances had acoustics full of reverberation halls, arenas. Peter Traynor built these things to stand up to road abuse, unlike a lot of vintage stuff. It sounds great with either bass and guitar, providing a clean and loud tone.

Works great in large club settings. Front panel has two input jacks, controls for treble boost, volume, treble expander, treble, bass expander, bass, presence, and bass boost.

AMPEG CLASSIC SVTE WATT BASS CABINET, MADE IN USA, SERIAL NUMBER: BQWDN

I couldn’t find much info on it after doing some quick searching It was made by SLM, so that puts in right into the mid 80’s as far as dating it goes. The SVT was another story. It was nice, but certainly not for the price they’re trying to get.

Introduction. Please note that most of these Brand Names are registered Trade Marks, Company Names or otherwise controlled and their inclusion in this index is strictly for information purposes only.

This information original was found on The Unofficial Ampeg Page http: I pulled this information from Google’s cache of the site. It has a note at the top of the page that they were reprinting with permission from the authors of Ampeg: If anyone feels this page should be taken down, please feel free to contact me. Ampegs can be divided into six distinct groups for dating purposes: Each group uses a unique serialization scheme that can be used to assist in dating the amps, but in many cases, it is the features and characteristics of the amps that determine the year of manufacture.

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May 01,  · So I found a dead mint 87′ Skunkworks SVT with a matching 4X12 cab. I’m doing a ton of reading on them and the consensus seems that they are decent amps.

A Fender Vibralux twin, and a Ross 40w, both with 12″ loudspeakers As said, guitar amplifiers are manufactured in two main forms. The “combination” or “combo” amplifier contains the amplifier head and guitar speakers in a single unit which is typically housed in a rectangular wooden box. The amplifier head or “amp head” contains the electronic circuitry constituting the preamp, built-in effects processing, and the power amplifier.

Other jacks may also be provided, such as an additional input jack, “send” and “return” jacks to create an effects loop for connecting electronic effects such as compression, reverb, etc. Kustom bass amp – amp head and speakers, watts RMS, two channels, two 15″ speakers, Some amplifiers have a line out jack for connecting the amplifier’s signal to a PA system or recording console or to connect the amplifier to another guitar amp. Players use the line out to connect one guitar amplifier to another amplifier in order to create different tone colors or sound effects.

However, in most styles of rock and blues guitar the line out is not used to connect the guitar amp to a PA system or recording console because the tonal coloration and overdrive from the amplifier and speaker is considered an important part of the amplifier’s sound. In the “amp head” form, the amplifier head is separate from the speakers, and joined to them by speaker cables.

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Hi, I have an Ampeg SVT head, and I noticed that it squeals every now and then. Duberney, there’s just no way of telling anything regarding a unit’s condition without examining the unit, however, what you’re describing sounds like something in the chassis (around the power sec) is loose.

What We Think Condition: Used, Very good Original Transformer, footswitch and reverb pan, amp was recently serviced and all caps have been replaced. Original speaker replaced with Celestion A type. Want More Great Content? Manufacturer’s Description from Other In , a design engineer by the name of Jess Oliver created a combo amplifier with a chasis that could be inverted and tucked inside the speaker enclosure, protecting the inner workings and increasing the portability of the the amp.

Nicknammed the “Portaflex,” this amplifier became the standard in bass combos throughout the 60’s and 70’s. Also in the early 60’s, Ampeg was the first company to incorporate reverb in an amplifier. The Reverbrocket preceded Fender’s Vibroverb often thought of as the original by nearly 2 years. In , Ampeg set out to design the most powerful amplifier ever made. At that time, watt amps were considered more than adequate.

Now the most sought after stage amplifier, the SVT has proven its road worthiness on stages around the world. About Manufacturer Here at Sound Pure we hand-select used and vintage pieces of gear for our inventory.

Ampeg Bass Heads – Understanding Gain Structure