Why are the Ampeg Portaflex amps so cheap?

[slade]

I went from a GK1001RB (which I still have but I have to repair it) to a PF-500 over 2 years ago. The amp performs beautifully and I love it. I never bonded with the GK.

I have plenty of volume for any gig, and I use a 12/6/1 and 12 sub (not fEarful) and the 12's aren't very efficient, but go low. I usually have the gain around 11 and the master between 12 and 1. A small increase in the master yields a big increase in volume. I start with the compression around 11-12 and usually back it off as the evening goes on. Tone controls are around flat, but get adjusted to the room and tune.

I carry a backup amp. I recently got a class D power amp cheap and when looking at my preamp options, I found a PF-500 preamp board for $10. I'm building it into an old PV rack chassis. I just got the parts in for the power supply which needs +/-15v for the op amps and +52 volts for the jFet preamp. Loud was VERY helpful and generous with shematics.

I got to play a 7Pro at a 5 hour practice and found it so similar to my amp, I switched to my amp for the gig, which was in the same room. I saw no advantage with the 7Pro except the power, which I didn't need.

Ampeg got this amp right, especially the preamp. I would buy the PF-800 if I lost the PF-500 but so far, not even a hiccup. I've been playing bass since 1969 and my current rig is my favorite, and I had some great rigs (SVT, huge half/tube biamped rig in the 80's, GK1001RB with various cabinets including an 8X10, etc.) I just need to build actual fEarful cabinets to replace my compact, but too heavy DIY cabinets.

this is why i love the art of music- we all hear and feel things differently. I tore my 1001rbii out of a combo and preferred it to both my PF and SVT 7 pro. That said, I'm still in the market for my "real" gigging amp. I have been gigging the old GK though since last winter trying to decide what amp I want next (and haven't been bummed on my tone at any gig). Going to rehearsals with the PF500 though leaves me wishing I had my GK, but not enough to drag it from my studio down to the rehearsal space ( it's the back line at the rehearsal space).
Either way, all of them are good amps at pretty damn fair prices....

 

[Bass 45]

According to Jerrold Tiers, SLM was solvent and earning a decent profit at the time of the sale, and Gene Kornblum was just ready to call it a day after a very long time in the business. Not trying to bust you or anything, but that is what Jerrold said, so as chief engineer at the time, gotta go by what he says.

Great - I was that guy making false statements on the internet:/

I must have been thinking of a different era/sale.

 

[Steve Dallman]

I can understand that some players would prefer GK tone and performance over Ampeg. They are distinctly different tonalities.

 

[glenson]

This weekend with some trepidation, i brought my pf-500 to our gig. Coupled it with 610hlf. It was hard as i have an svt-4 but thats got some weird stuff going on..

Soundman used the line out and as long as you turn up the gain, the volume is there on stage.

End result is it sounded great and i got good feedback from the dummer of the preceeding band. Video recording also sounded good.

I'd stick with svt 4 pro for an outdoor show, but for a smaller venue, this worked and id be confident using it again.

I think the trick is you need a 4 ohm cab to maximize the output and use the gain to get the volume you want