Combination Amp with 15 Inch Speaker

[Chip Stewart]

I'm currently using a made in U.S.A. Ampeg B100R combination amp when I perform with my folk band Coffee Folk. This amp gives me the deep, fundamental sound I'm looking for. You can hear my sound at the beginning of our Youtube video for I'll Never Find Another You at

Since they don't make this amp anymore, I'm not sure what I would replace it with if I ever needed to replace it. Any suggestions for a combination amp with a 15 inch speaker?

[DeepEnd]

​Ampeg BG115, Peavey Max 115 or TKO115, Fender Rumble V3, TC Electronic BG115, Kustom KXB100, GK MB115, Markbass CMD 151P (not cheap), Acoustic B200, Eden EC15, Warwick BC150 or BC300. All these are 1X15 combo amps ranging from about 150 to 300 Watts. Some have HF drivers. All are available through Musician's Friend. Lots of choices. No worries.

[WRGKMC]

Since you have an Ampeg now, I'd just stick with something like a Portaflex. I bought a 350 for $150 like new. The 500 or 800 would be ideal for live stuff. Bass players usually bust a gut moving their rig but these heads only weigh a few pounds too so you aren't busting a gut moving them ,

[DeepEnd]

Since you have an Ampeg now' date=' I'd just stick with something like a Portaflex. . . . Bass players usually bust a gut moving their rig but these heads only weigh a few pounds too so you aren't busting a gut moving them ,[/quote']

Sure but the OP specifically asked about combo amps not heads, thus my list of available amps. I do agree that "If it ain't broke don't fix it," which is why the first amp on my list is another Ampeg. The GK MB115 is supposed to be lightweight, which is a plus in a combo amp. A lightweight head and a 1X15 cab would be a good starting place though, since the OP likes the sound of a 1X15 combo. He could always add a 4X10 or 2X10.

[WRGKMC]

Sure but the OP specifically asked about combo amps not heads, thus my list of available amps. I do agree that "If it ain't broke don't fix it," which is why the first amp on my list is another Ampeg. The GK MB115 is supposed to be lightweight, which is a plus in a combo amp. A lightweight head and a 1X15 cab would be a good starting place though, since the OP likes the sound of a 1X15 combo. He could always add a 4X10 or 2X10.

 

The portaflex is a combo. The head mounts to a cab top and you unlatch the top lid and flip it over for transporting. The portaflex head will mount on vintage cabs or new or can be unscrewed and used as a separate head.

 

This is a pick of the vintage version. You can see how the lid top attaches to the head and you just flip it over for transport. http://www.musik-produktiv.co.uk/pic...e-b-15_03l.jpg

 

The vintage tube reissues are available but they do cost allot. I've owned both and the New Class D heads are killer sounding.

 

http://cdn.mos.musicradar.com/images...ols-630-80.jpg

 

http://www.guitarcenter.com/Ampeg-PF...source=4WWRWXG

 

http://medias.audiofanzine.com/image...0he-384966.jpg

[Chip Stewart]

I have two concerns with the Ampeg Portaflex line. First, the smallest wattage available is 350W. I know people say you can never have too many watts, but with my current 100W amp I only have the gain at 3 and the master volume at 2. In the coffee shops where we perform, I don't need a lot of power to keep up with two acoustic guitars. When we play a festival or larger gig, I either use a microphone on my amp or use the line out feature for PA support. I'm afraid I wouldn't be able to get a 350W amp to be quiet enough.

 

Secondly, I've read that the new Ampeg amps which are made in China have reliability issues. I don't carry a backup amp with me. If my amp dies on me I can run directly to the PA board to get through the gig. This is obviously not an ideal situation and I've never had to run directly to the PA because of equipment failure. Because I don't carry a backup, though, reliability is a very large concern for me.

 

Ideally, I would like to find a 100W amp with Ampeg tone that is very reliable.

[DeepEnd]

. . . Ideally' date=' I would like to find a 100W amp with Ampeg tone that is very reliable.[/quote']

Ampeg BA115: http://www.ampeg.com/products/bassamp/ba-115/. 150 Watts but otherwise meets your requirements.

[WRGKMC]

 

I have two concerns with the Ampeg Portaflex line. First, the smallest wattage available is 350W. I know people say you can never have too many watts, but with my current 100W amp I only have the gain at 3 and the master volume at 2. In the coffee shops where we perform, I don't need a lot of power to keep up with two acoustic guitars. When we play a festival or larger gig, I either use a microphone on my amp or use the line out feature for PA support. I'm afraid I wouldn't be able to get a 350W amp to be quiet enough.

 

Secondly, I've read that the new Ampeg amps which are made in China have reliability issues. I don't carry a backup amp with me. If my amp dies on me I can run directly to the PA board to get through the gig. This is obviously not an ideal situation and I've never had to run directly to the PA because of equipment failure. Because I don't carry a backup, though, reliability is a very large concern for me.

 

Ideally, I would like to find a 100W amp with Ampeg tone that is very reliable.

 

First, don't let the RMS ratings fool you. Second, the head has a master volume so there's no issue at all in being able to tweak it down.

 

You need to realize this is a solid state head, and nearly all solid state heads produce about half the actual DB of a Tube heads. Running this one at 8 ohms (a single 15" speaker) the head produces 200W. You have to run it at 4 ohms to produce 350W

 

This head is about the same as a 100W tube head running between 3 and 5 tops. This is because tube head wattages are based on clean undistorted waveforms. You may get a clean waveform at 1/3 to 1/2 on the volume knob and the other half of the knob isn't counted as RMS wattage. I'd say my old 100W V4B head set on 3 would easily match a Portaflex running all the way up.

 

When I'd use that head playing the Asbury Park circuit for 10 years I could set it at about 4 playing in a full rock band miced through a 2000W system and the sound man would tell me I was too loud with an un-miced amp. Of course my response to him then was turn the rest of the band up. I couldn't turn the amp any lower without disappearing on stage.

 

The Portaflex set with the master and channel volume on 5 would be about as loud as my 50W Blackface Bassman running on 4. Very comfortable volume where an audience could easily talk over the music. The amp will taper up nicely if you do crank it, but you have no problem getting clear tones at lower volume levels.

 

Portaflex amps were designed originally for small Jazz combos where they'd use electric upright bases and would jam along side an un-miced acoustic piano and drummer using brushes. The first one I saw used was back in 1968 on Broadway when I went to see the musical Hair. I couldn't keep my attention off that bass players tone using a Jazz bass. It was miced of course. I guess the hall fit about 5000 people and they used Ampeg A7's for the House PA. Players like James Jamerson who did all those Motown recordings would use a Precision and B15 Portaflex playing live.

 

The 350 is very basic. Its got volume low mid treble and a master volume which allows you decent tones even at practice levels. I'm able to dial up great tones for practice in the living room and watch TV at normal volumes at the same time. Many larger amps wont even sound good nor will the tone controls work unless you've turned up to 3 or more.

 

Another cool feature is its got an XLR DI line output so you can plug directly into a PA mixer without having to use a mic. You can even turn the master off on the amp and still have the preamp working. Great feature for recording which I've used with great results.

Its got a built in limiter too which prevents accidental transients when you pick a note too hard.

 

I wasn't too hep on class D amps before I started trying a few. This one is much quieter then any transistor amps I've tried and has good tube tones. It wont break up like tubes however. If you want that only tubes can do that properly. I can run this along side a Sunn, Crate, Fender in my studio through various cabs, 1X15, 2X15, 4X10's, 1X18 & 2X10's and a 6X12" bass cabs. This one produces better tones through any of the cabs and sounds more transparent.

 

If anything, for the stuff I do, I really need the 500. I'd say a 500 would do fine for a Classic rock club band where the guitarists are using combos up to 50w or maybe a twin. You'd probably need the 800 if you were playing with 100W Marshalls using 4X12 cabs playing heavy metal stuff.

 

Here's one review on it. http://www.premierguitar.com/articles/Ampeg_Portaflex_PF_350_Head_and_PF_210HE_Cab_Review

Here's a video on it, but the sound quality is very poor. You don't hear the rich bass tones it produces but you can at least get some idea of the features.

 

In any case I do suggest you go to a music store and give it a try. If you want classic Ampeg tone there only an Ampeg will get you there. If you're looking for something different then go for it. There's a bunch of great amps out there that sound good. Most, especially with bass, have their own signature tones and string touch.

 

 

[DeepEnd]

First, there's a difference between gain and power. Gain is how loud an amp is for a given position of the volume control. Power is how loud an amp can get without significant distortion. The diference between 100 Watts and 350 Watts is about 5 1/2 dB, not insignificant but not huge either. Don't worry about it. If you want a USA made amp, the GK MB115 http://www.gallien-krueger.com/products/combos/ and the Carvin MB15 http://www.carvinguitars.com/products/MB15 both qualify but neither will sound exactly like an Ampeg.

[WRGKMC]

 

First' date=' there's a difference between [b']gain[/b] and power. Gain is how loud an amp is for a given position of the volume control. Power is how loud an amp can get without significant distortion.

 

Not quite. Gain is a ratio comparison of input vs. output amplitude. If a signal increases in amplitude, you have gain. If its 1:1 you have unity. If its less then one you have attenuation. An amp stage takes voltage from the power supply and generates a larger "copy" of the input signal. The larger the copy, the larger the gain. When you adjust a volume control down from max you are attenuating the gain in some stage of the amp. It may be before the first stage or in the case of a master volume it may be between the preamp and power amp.

 

Here's the long version of the explanation. In electronics, gain is a measure of the ability of a circuit (often an amplifier) to increase the power or amplitude of a signal from the input to the output by adding energy converted from some power supply to the signal. It is usually defined as the mean ratio of the signal output of a system to the signal input of the same system. It is often expressed using the logarithmic decibel (dB) units ("dB gain"). A gain greater than one (zero dB), that is, amplification, is the defining property of an active component or circuit, while a passive circuit will have a gain of less than one.

The term gain alone is ambiguous, and can refer to the ratio of output to input voltage, (voltage gain), current (current gain) or electric power (power gain). In the field of audio and general purpose amplifiers, especially operational amplifiers, the term usually refers to voltage gain, but in radio frequency amplifiers it usually refers to power gain.

 

You also hear the term Gain factor used in amps. This is the ability of a component to step up the signals amplitude without clipping and is also expressed as a logarithmic Ratio of how large the signal is increased between the input vs. output of a singe stage or input vs. output of several sages. A 3db gain factor for example is a 10:1 ratio.

 

Gain is not the cause of distortion. It is the component itself that fails to pass a signal and distorts its when its normal parameters are pushed beyond its maximum limits. The component is the bottleneck to passing a larger signal then its rated for. In other words, its the pipe size that restricts water flow, not the water itself. Clipping is actually a form of abuse to the amplifier component. (or in other cases the misuse of a diode to clip waves) Because the distorted sound is favored by many for guitar the components chosen for this kind of abuse are usually sturdy enough to dissipate the heat and not be permanently damaged by the clipping.

 

 

Power is often misused and most will "get" what someone's talking about when its misused. Power is only an energy consumption measurement that's taken over time. It has nothing to do with how loud an amp can be nor does it have anything to do with distortion. It may be the power the amp consumes for operating or the power used by the components separately, but power is a pure term combining energy and time into a measurement.

 

 

http://en.wikipedia.org/wiki/Power_(physics)

 

[DeepEnd]

. . . Here's the long version of the explanation. . . .

Exactly. My explanation was adequate for the OP's purposes. You, OTOH, just like to make long posts. I don't. The OP understands now that amp power has nothing to do with the position of the volume control, which was the point. Once I finished giving the shortest explanation necessary, I shut up. I'm not enamored with my own words.

[hsech]

Markbass.

[Mr Temporary]

Ampeg BA115: http://www.ampeg.com/products/bassamp/ba-115/. 150 Watts but otherwise meets your requirements.

 

 

I had a BA115T that I liked very much, but wasn't loud enough to compete in a loud band situation. The "T" version had a 12AX7 in the preamp section. I don't know if it did much, but it certainly didn't hurt the sound in my opinion. Some people disable the horn in the BA115's, but I didn't have a problem with it. Also liked the tilt-back design. I had a warranty issue right out of the box, but it was fixed at no charge and I had no problem with it afterwards.

 

The TC Electronic BG-250 is worth looking at, even if you don't use the Toneprint functions. I've been on the fence about picking one up myself, either the 15" or the 2x10" versions. The new Fenders are also very light, but haven't had a chance to play one.

 

Hard to go wrong with the Portabass suggestion, and as mentioned previously there are a ton of choices. For the kind of stuff your playing, I'd think any of the lightweight options would be very attractive. I wouldn't rule out a 10" or 12" version, either.

[DeepEnd]

I had a BA115T that I liked very much, but wasn't loud enough to compete in a loud band situation. . . .

The OP specified "a 100W amp with Ampeg tone that is very reliable." The BA115 meets that definition except for being 150 Watts. Besides, it's been a month and a half and the OP hasn't been back, AFAIK.

[Drummer44]

Any suggestions for a combination amp with a 15 inch speaker?

 

 

I'm old, so combination amps aren't my favorite.

 

I tried a small Marshall Haze tube stack with two separate 12" cabs so the weight of each component was individually manageable. A single cab worked great, using both cabs was optional and even greater, so it was just about perfect... except for the buzz. Lots of troubleshooting (tried different venues, no ground loops, no flourescents, no cable issues, discussed with Marshall, etc.). Replaced it, buzz. Returned it. (Heard one later in a distant store once while traveling, no buzz... but couldn't easily transport it so didn't buy it.)

 

Don't know current market for something similar, but conceptually that approach maybe be an option to investigate.

 

I replaced the Haze with an even smaller Marshall solid state stack, with two separate 10" -- which works well enough but probably isn't in the same class you're looking for.

 

-D44

 

 

[DeepEnd]

^ The BA115 is 45 lbs., which is not too bad. My SWR LA12 is only 60 Watts with a single 12" and it weighs 39 lbs. Anything much bigger, though, and a separate head and cab would be welcome.