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Heritage SVT-CL, V4B reissue, PF-50T, vintage SVT and B-15N. Why? Listen to them! 
If you had asked that question as opposed to that vague statement you made in you OP, people wouldn't be asking.
But since you clarified afterwards, I have an '69 Ampeg B-15N. IMO it's one of the best sounding small amps ever built. It's equally good for studio or small gig use. Very creamy and round sound - which is the type of tone I mainly favor. Also has a baxandall tonestack, so you can actually genuinely boost or cut midrange despite the fact there isn't a midrange know on the amp - as opposed to the mid knob on many amps that actually doesn't adjust the midrange at all.
It's a definite vintage sounding amp. So if a ported 15" cab, the 6L6 tube and "Ampeg sound" isn't your thing, you'll want to pass on one of these. Biggest downside is that they're ridiculously overpriced IMO assuming you can find one. And they're not very loud. But if you want that old Ampeg B-15 sound, it's either a B-15 with one of the old cabs that packs the early square magnet speaker made by CTS - or nada.
Similar story--bought an SVT-CL. Loved it. Then they came out with the Heritage SVT-CL. Bought one of those too. These amps have the tone I love, sound great with every cabinet I've tried, and they last forever. I found out recently they even make great recording amps. I have other amps that I really like but if I had to pick just one it would be an SVT-CL.
V4B reissue. Tone versatility/authority in a lighter package and proving to be extremely reliable for me.
Heritage SVT-CL here. Sounds like a slice of heaven. I used it for my last studio session and they called me a week later and asked if they could rent my head to use for future recordings.
Someone say Ampeg?
Strangely enough, about 3 years ago I hated Ampeg. Then I came across a good deal on an Ampeg V4 that I was gonna fix up then flip. I ended up having to borrow a guitarist my Musicman head for a gig that we were playing, so I took the V4 and played out of it. Loved the tone I got. Then I actually learned how to use a baxandall tonestack... I've gone through a lot of tube heads in the past few years, but I gotta say that Ampeg has really won me over.
Strangely enough, about 3 years ago I hated Ampeg. Then I came across a good deal on an Ampeg V4 that I was gonna fix up then flip. I ended up having to borrow a guitarist my Musicman head for a gig that we were playing, so I took the V4 and played out of it. Loved the tone I got. Then I actually learned how to use a baxandall tonestack... I've gone through a lot of tube heads in the past few years, but I gotta say that Ampeg has really won me over.
Pros: Will rattle the fillings out of your teeth. Cons: Will break your back lugging it around.
I have a SVT CL. I got it just before the V4B was reissued or I would have bought one of those instead. The CL sounds so good, but its overkill for my needs (I go through a PA 100% of the time). I barely push the volume or it gets too loud. I may eventually sell it and get the V4B. The tone is what I would call, "rich and warm with natural overdrive if you want it".
Um, well, you didn't actually ask that question, just some vague open ended nonsense...
But in response to your second post, I had an SVT-II Pro. It was insanely powerful and sounded amazing. I sold it since it sat for a few years without being played and I needed to move cross-country. I miss it.
What was confusing about the Baxandall tone stack?Someone say Ampeg?
Strangely enough, about 3 years ago I hated Ampeg. Then I came across a good deal on an Ampeg V4 that I was gonna fix up then flip. I ended up having to borrow a guitarist my Musicman head for a gig that we were playing, so I took the V4 and played out of it. Loved the tone I got. Then I actually learned how to use a baxandall tonestack... I've gone through a lot of tube heads in the past few years, but I gotta say that Ampeg has really won me over.
I can see how if you're used to working with a mid-scooped and interactive fender style stack having a stack that does (relative) cut/boost on all controls with less interaction would take some getting used to.
I know a feller who has a 70's V4B in good condition for sale near me for $550. Seems like a good deal. Thinking this one over, but already have a Super Bassman and PF-50T. Might be hard to pass up a good deal like that... that IS a good deal, right?
$550 is a good price but keep in mind a few things with the vintage V4 amps. If the amp hasn't had a cap job it will need one, and if you plan to use drop in replacement cans (fliptops has a kit) it's a bit more expensive of a repair than most amps of similar wattage. The 7027A tubes in these can be a pain, I have all NOS/old glass in mine, mainly because I haven't found the JJ 7027A or Sovtek 7027A reissues to be reliable enough. The JJ's aren't rated for the voltages in these amps. The sovteks I can't find a data sheet and most stores I see selling them now only list 7027, not 7027A though I know I've bought a set of sovtek 7027As in the past so who knows what these are. I know our own B-o-T has had good luck with the tung sol RI 7581A in his V4 so maybe there's some hope for new production. Aside from the 7027A issue there's also the 6K11 compactron, these are long out of production and they're used to drive the midrange circuit. They're 3 triodes in one so they were replaced by one and a half 12A_7 tubes in the reissues.
+1 ^ To me, it makes bass sound like what bass should sound like.
