When I first started doing club dates in 1991 I borrowed a 60's B-15 from a friend. Pretty soon it could not provide the volume needed for the larger rooms, but the tone was great. I was shocked how easy it was to set up, but the ungrounded cord made for some tricky mic checks....if ya know what I mean.
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Why is the Ampeg B15 so coveted?
- Thread starter Boneless
- Start date
Ampeg released a Heritage reissue of the B-15 several years ago. I was interested until I saw the price tag.
TLDR: can’t get a bad sound out of them.
I never knew or cared about the history of it. Got lucky with one having been one of thirty or so different amps left at different drummers’ spaces by one bassist. It was his least favorite which he left with his least favorite drummer.
I was playing a defretted hollowbody guitar through it for two months and could not get a bad sound out of that amp. Bought it from him as soon as I could.
I never knew or cared about the history of it. Got lucky with one having been one of thirty or so different amps left at different drummers’ spaces by one bassist. It was his least favorite which he left with his least favorite drummer.
I was playing a defretted hollowbody guitar through it for two months and could not get a bad sound out of that amp. Bought it from him as soon as I could.
The B15 sounds great recorded and is effortless to mix.
Ampeg B-15 (SB12 in my case) sound great, look great and because of this they are inspiring. I will take that wherever I can get it.
That's not really true. Successful designs are almost never simple. They may be clever, economical, minimal but never simple.
I used to see STUFF with Gordon Edwards on bass using a B 15 on stage in the smaller clubs. Amazing stuff
It is a really nice amp. Don't blow it up. Good sounds and enough power for most situations. What is not to like?
For many, it's the reasons listed in this thread. For me, it's because it was the sound guys on hand amp at the Granada in Ft Worth when my DB 750 was popping their breakers 
Having owned a late 60's flip top B15 that I still wish I had, it really did record well. It also worked very well in theatre pits.
It had a range of tones where it was really hard not to find a great one to record. It was heavy for it's size and not great small or practice amp, so it wasn't a keeper for those reasons compared to what's out there today.
It had a range of tones where it was really hard not to find a great one to record. It was heavy for it's size and not great small or practice amp, so it wasn't a keeper for those reasons compared to what's out there today.
I must be getting old. I remember before the legends.
The B-15 is a great amp BUT,
Its early history is inflated IMO, more of an East coast amp. By the time the recording industry "moved" to LA around '60, LA was a Fender town, and was so for for its heyday. Later the B-15 crept in everywhere, and I mean everywhere.
Also, pretty sure Jamerson went direct at Motown. The B-15 was his monitor.
Also, Dunn recorded with a B-15 at Stax but didn't like it.
Both used Kustom amps with 2x15's live.
At some point the B-15 became the most recorded bass amp, but I believe it was later than most people think.
The B-15 is a great amp BUT,
Its early history is inflated IMO, more of an East coast amp. By the time the recording industry "moved" to LA around '60, LA was a Fender town, and was so for for its heyday. Later the B-15 crept in everywhere, and I mean everywhere.
Also, pretty sure Jamerson went direct at Motown. The B-15 was his monitor.
Also, Dunn recorded with a B-15 at Stax but didn't like it.
Both used Kustom amps with 2x15's live.
At some point the B-15 became the most recorded bass amp, but I believe it was later than most people think.
I have a B18. All
I can say is it’s the warmest and most beautiful sounding amp I’ve ever owned. Unfortunately I don’t use it much
I also have a Fender Rumble Studio 40, which is basically a modeling amp. The only setting I use is the B 15
I can say is it’s the warmest and most beautiful sounding amp I’ve ever owned. Unfortunately I don’t use it much
I also have a Fender Rumble Studio 40, which is basically a modeling amp. The only setting I use is the B 15
IMO, I think in low volume settings, like recording, it sounds great. I had a 58 Reverberocket guitar amp that I had modified (caps? ) by an Ampeg authorized repairman which made it more of a bass amp much like the port-a-flex. Having played through a Port-a-Flex back in it’s day, even though my Reverberocket was an open back combo, it recorded very well.
That said, IMO today’s gear sounds better with much more detail, refinement, not to mention whole lot more tonal flexibility. I don’t view them as a unicorn or a holy grail, and I’ll be danged I if I’m going to plunk down what these people are asking for them when there is much better options
I own a B-15n, so I have no reason to covet a B-15n.
Why do I own a B-15? Because I like how it sounds. Always have, probably always will. Do I own other amps? Yup.
^If I were to covet any B15, it would be Yauch’s plexi.
Why do I own a B-15? Because I like how it sounds. Always have, probably always will. Do I own other amps? Yup.
^If I were to covet any B15, it would be Yauch’s plexi.
Because Jess Oliver designed a better bass amp than Leo Fender did.
Is it not still the most recorded bass amp in history?
There's a few situations I"d use mine, but I usually end up going for "convenience" .
A buddy of mine has a B18, converted to a 15" speaker - so a little more power.
He still gigs his regularly. They play 150 + shows a year. Just saw him last week.
Depends on the gig & the genre.
There's a few situations I"d use mine, but I usually end up going for "convenience" .
A buddy of mine has a B18, converted to a 15" speaker - so a little more power.
He still gigs his regularly. They play 150 + shows a year. Just saw him last week.
The James tone stack is pretty much ideal for bass, which is why so many modern bass amps still use a version of it. You can add and subtract lows and highs while keeping your basic sound in the mids intact. It works well for guitar, too.
