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Preamp tubes: four 7025 (12AX7 types) Output tubes: two 5881 (a more-rugged 6L6 type), fixed-bias Rectifier: solidstate Controls: Bass Instrument channel: Volume, Treble, Bass; Normal channel: Volume, Treble, Bass; shared: Presence Output: 50 watts RMS ’60s, however, the company was ready to admit that rock was here to stay, and that it would have to jump onboard to survive in a fast-evolving market.Like the massive SVT bass rig of the same year, the V Series guitar amps introduced in ’69 were all about rock and roll – big rock and roll, as blasted in stadiums and arenas on major tours – and they cranked it out in a style no amp had done before or has since. ” This is where it comes from; you just aren’t likely to appreciate quite how beautiful until your ears are bleeding!while in 2010, Premiere Radio Networks launched nationally syndicated Rock/alternative music radio programs "Sixx Sense" and "The Side Show Countdown" with both based in Dallas, Texas and hosted by Sixx and co-hosted by Jenn Marino.While living in Jerome, Idaho, he became a teenage vandal, breaking into neighbors' homes, shoplifting, and being expelled from school for selling drugs.When Ampeg introduced the B-15 Portaflex (short for portable reflex baffle system) in 1960, it set the standard for all future bass amplification, quickly becoming the most popular bass amp in the world.More important, it gave the then-nine-year-old electric bass guitar its first true voice: fat and fundamental, thanks to the warmth of six tubes and a tuned, closed-back cabinet.His place in music history, however, is firmly cemented by his invention of the B-15.As Oliver was being presented with the new Heritage model he consulted on, he was more than willing to field questions about his fabulous fliptop.

The circuit and the tubes used in it evolved slightly through the ’70s, but this 1972 example follows the classic topology.Extra flexibility came via the five rocker switches along top, which engage ultra-hi and ultra-lo boosts for each channel, and a 3-position mid-tone control. tour, their first since 1966, was the group’s seminal run in American arenas—up until then they’d been playing smaller theaters and auditoriums.There were also four inputs, normal and bright for each channel. The need to move and groove fans in the nosebleed seats made the powerful SVTs a perfect choice.The earliest “blue-line” SVTs like the one shown here (which has since been updated with KT88 tubes) had control panels engraved with blue lines and text, though Ampeg later switched to a more legible black format.SVTs of this era had volume, treble, midrange, and bass knobs for the first channel, while channel 2 only had volume, treble, and bass.




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