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Does anyone make a B15 in a pedal format?

not exactly the same, (or what you are looking for) but this is certainly cool and should sound fantastic.

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I've only heard of those, never seen on in person as they are very rare.

I'm actually looking to purchase a vintage B15 as well for the studio: if anyone knows of one in CA for sale, or one of the surrounding states...
 
The amount of attention this thread has received in under 24 hours says a lot about what this community is interested in. I hope all the builders out there are paying attention! We know what we want and we're willing to pay for it.

Agreed. It was cool of Josh to swing by and chime in as well.
 
It’s not gonna fit on your pedal board but you could consider sourcing an Ampeg B25(b) head which is more or less a B15 in head only form... That is if having a power tube section is important to you. They can be had on the used market for ~$500 and weigh ~40lbs.
 
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It’s not gonna fit on your pedal board but you could consider sourcing an Ampeg B25(b) head which is more or less a B15 in head only form... That is if having a power tube section is important to you. They can be had on the used market for ~$500 and weigh ~40lbs.

Unfortunately not an option: most of my touring is fly dates and carrying on (or even checking) an extra piece of luggage is usually not an option.
 
Unfortunately not an option: most of my touring is fly dates and carrying on (or even checking) an extra piece of luggage is usually not an option.

Not meaning to be be off-topic, given your travel requirements, but... I just started gigging with the new Mesa class D head, the Subway WD-800. There are two pieces of kit I've had that remind me of my beloved (but long gone) Ampeg SB-12: the Noble pre and the WD-800. And you can get the pre on the WD-800 to break up tastefully if you put the input gain up enough.

Mean that to be helpful, not distracting. The WD-800 is worth auditioning, in any case.
 
I do make them. I stopped taking names for the waitlist because it has become impractical at this point. Once I clear the wait list I'm moving to a model that works better for my business. This started as a hobby and has grown quite a lot bigger than anticipated.
Gotcha. Thanks for the response. Yeah, I can’t even imagine being in your position. Guys like you and JohnK are amazing. Merry Christmas
 
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linden plus this



Based on that video it seems like that pedal only does one sound, noisy fuzz, with limited bottom end and marginal tonal variation even with different instruments: not really what I'm after here, though if you push a B15 hard enough I'm sure you can make it sound like that ;)
 
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Already sent Dale an email about acquiring one again ;)

I had assumed that you already exhausted your options with that unit and decided against it. If it's been some time, especially if you were using an older version with less options, I'd be super curious with what you'd do with the latest fare.

I always enjoy your demos, and I have a decent appreciation for your ear. As a VTDI user, I'd be very interested in what you could do with it in your hands, and your thoughts after revisiting it a bit.
 
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Post by @Eublet about the Tone Hammer, which I have used with great results as well.

"Here's another trick about the TH that I use a good bit. I'll scoop the mids ALL the way out around 750 hz for a rock tone. With the Bass/Treble boosted to around 2 o'clock, this is very similar to the "Fat Tube" setting from the BDDI manual. But the cool trick is instead to cut treble and bass back. I'll set bass to 11 or maybe 10 o'clock, and cut treble all the way back to 8 or 9 o'clock. The result is a very warm, lower-mid dominant tone (because the upper mids and lows are cut back so far), with a subtle, understated top end. It's very B15'ish and sounds awesome with a P bass or jazz with flats. At this point, if you want more depth, rather than boosting the bass, you move the mid frequency knob clockwise, which pools out upper mids and articulation. If you want more of that, then you move the knob counter clockwise to bring those upper mids back into the tone. The highs and lows stay the same, so it's an easy way to adjust your tone on the gig to get more/less articulation in the mix."
 
Based on that video it seems like that pedal only does one sound, noisy fuzz, with limited bottom end and marginal tonal variation even with different instruments: not really what I'm after here, though if you push a B15 hard enough it may be possible to make it sound like that ;)

Power amp distortion is what it does..

This Spanish.. But closer to what I was thinking.. You want.. Linden eq to voice it right.. If you could show us an example.

 
Power amp distortion is what it does..

This Spanish.. But closer to what I was thinking.. You want.. Linden eq to voice it right.. If you could show us an example.



It does all out crazy over the top power amp distortion. I have a two knob acapulco gold clone that can be tamed, and even that does not come close at all to sounding like a B-15.
 
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Power amp distortion is what it does..

This Spanish.. But closer to what I was thinking.. You want.. Linden eq to voice it right.. If you could show us an example.



That's closer, evidently it had more than one setting after all ;)

I'll definitely look into this box a bit more.
 
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isn't the very item you endorse the JUle Monique supposed to be the preamp of the B15 with the rectifier tube for tube sag? or was that just TB hyperbole?

It is not to my knowledge, though it does have a Baxandall tone stack: as I mentioned to someone before the Jule is much more in the Noble/Fender tonal category.

Big, dynamic, 3D sounds, but not a hint of clipping.
 
Post by @Eublet about the Tone Hammer, which I have used with great results as well.

"Here's another trick about the TH that I use a good bit. I'll scoop the mids ALL the way out around 750 hz for a rock tone. With the Bass/Treble boosted to around 2 o'clock, this is very similar to the "Fat Tube" setting from the BDDI manual. But the cool trick is instead to cut treble and bass back. I'll set bass to 11 or maybe 10 o'clock, and cut treble all the way back to 8 or 9 o'clock. The result is a very warm, lower-mid dominant tone (because the upper mids and lows are cut back so far), with a subtle, understated top end. It's very B15'ish and sounds awesome with a P bass or jazz with flats. At this point, if you want more depth, rather than boosting the bass, you move the mid frequency knob clockwise, which pools out upper mids and articulation. If you want more of that, then you move the knob counter clockwise to bring those upper mids back into the tone. The highs and lows stay the same, so it's an easy way to adjust your tone on the gig to get more/less articulation in the mix."

I owned a TH ages ago and never really dug into it: the huge gain boost with the AGS engaged (with no way to gain match the clean and dirty channels) made it a non starter at the time, so I never really dug into it after hearing that initial gain boost and midrange kazoo.

This isn't the first recommendation for it though, so I'll look into it again: seems like I suddenly have a very long Christmas list ;)
 
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I owned a TH ages ago and never really dug into it: the huge gain boost with the AGS engaged (with no way to gain match the clean and dirty channels) made it a non starter at the time, so I never really dug into it after hearing that initial gain boost and midrange kazoo.

This isn't the first recommendation for it though, so I'll look into it again: seems like I suddenly have a very long Christmas list ;)

Totally agree about the inability to match volumes with / without AGS or I would have bought one.
 
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