There’s something grimy, rich, and raw going on when you crank it up, and that opens a world of sonic possibilities beyond the archetypal smooth. Rectifier: solidstate Controls: volume, treble and bass on each channel; echo (reverb) and speed and intensity (tremolo) on channel two. You can almost hear that warm, bold, clean guitar tone, right? Though the Gemini II was intended for jazz (like the majority of the Ampegs of its day), this one somehow slipped past the “Gatekeeper of Clean,” head honcho Everett Hull.Even the recent-issue replacements made by Electro-Harmonix are pricey. What makes these amps so much fun is the way they surprise your jam-night buddies with tone, tone, and tone, and convert that jazz-looking box to a grinding, raw, edgy rock machine that lathers on the good stuff while doing a surprisingly good job preserving your guitar’s note clarity. Also different from the common denominator is the lack of any cathode-bypass caps on the first gain stages of each channel, a component usually used to voice the tube, often fattening up the signal in many amps.Omitting this cap helps to keep things tight up front, an effort that in itself kind of hints at jazz intentions, but the added half of a 12AX7 between the Volume and Tone controls ramps it all up pretty good, and there’s a .1µF bypass cap on the cathode of the second gain stage of Channel 1, for a crispy boost of sorts.More information about this error may be available in the server error log.Additionally, a 500 Internal Server Error error was encountered while trying to use an Error Document to handle the request.
With the dawn of highpowered amps still a decade away, the B-15 could be found live and in the studio behind the instrument’s premier pluckers: James Jamerson in Detroit, Duck Dunn in Memphis, Chuck Rainey in New York and Los Angeles.But, fast-forward nearly 50 years and these things make great avenues to original tones in the arenas of alternative, indie, blues-rock, Americana, and roots-rock.Get it cooking, and it also lets the listener know you’re plugged into something other than the usual Vox, Marshall, or Fender-derived amp design.Behold the Ampeg B-15, a simple box on wheels that houses the very crossroads of ingenuity, portability, and sonic superiority beneath its four latches.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.