The company's major successes came from 1960 onward, when Oliver Jesperson created its “Portaflex” model, which became one of the most sought-after. With a simple flip, the amplifier head fit inside the cabinet that housed the speaker, keeping it better protected during transport. Many musicians loved the idea.
At the time, these amplifiers were designed with tubes inside that delivered a good acoustic response, but the tubes were very troublesome when hauled around for “gigs.”
For this and other reasons, in the late '60s they were redesigned to use transistors instead of tubes, for more advanced circuitry. This solved the problem and also delivered greater output power. In the years that followed, they were redesigned electronically again as electronic components kept improving.
Throughout the '60s and into the '70s, they progressively improved their models, such as the ones known as “fliptops,” which are still highly prized on the used market.
In the '60s, AMPEG also introduced various reverb systems as a new feature in its amplifiers, even before some of the models that Fender® would release shortly afterward with reverb in its own amps.
Over the following years, AMPEG was acquired by various companies that absorbed one another, until in 2005 it became part of the American company LOUD TECHNOLOGIES. It was then, however, that production moved to Asian countries, always supervised by the engineers at its headquarters.
At some point, in addition to amplifiers, it broadened its product range, also building guitars and basses under the brand, which have been in high demand.
It seems they were the first to come up with the idea of launching a fretless electric bass for the world market. Research and development usually leads to advanced products.
The eternal dilemma of musicians on stage
Having the guitarist or bassist set up their own amplifier on stage has always been an unresolved problem… If it's too big, its power tends to bother whoever is mixing at the house console. On the other hand, if it's placed behind us, it will hurt our ears when cranked to full power so that it “sounds balanced throughout the room.” As a result, most of the audience won't hear well, or may even be bothered by the harsh sound, and the same goes for the musicians on stage.
In my own experience, I've found that a more practical solution is to bring our “own good monitor” on stage, connected by line to the venue's main mixing console (which we will no longer control), and ask the engineer to feed us through “their” corresponding monitors on that stage.
That way, we'll hear the bass sound almost in “stereo,” between the sound coming from the front through those monitors and the sound we hear from behind, from our “own monitor/amp,” getting comfortable acoustics that will let us play better.
And so as not to punish our ears “directly,” it's best if the sound coming out of its speakers doesn't go straight to our eardrums, not only to avoid discomfort but also to avoid permanent deafness: we only get one pair of ears for life, and hearing loss never regenerates... So we need to look after them...
We can control the volume of “our monitor/amp” ourselves as we like, trying not to bother anyone else, since the signal we send “the board” from our own amplifier will be by line only.
In my opinion, this is better than putting a microphone in front of its speaker, since that would tie our hands whenever we wanted to make changes on “our own monitor.”
What's more, using only the line connection will probably avoid hum, especially low-frequency hum. That way, the engineer at the board won't feel out of control, and we'll also spare ourselves a scolding for messing up their work…. :-o
Years ago, I used to take my “two-story amplifier” on stage (one cabinet stacked on another with the head on top), and in the end it gave me plenty of trouble, not only on stage but also when hauling the whole rig around again and again.
AMPEG's combo solutions to these problems
After its own long experience and that of its customers in these matters, AMPEG offers its practical, powerful “combos,” which, as you know, consist of a single, moderately large box containing good speakers (the enclosure), whose sound projects from below the musician's waist. If you want to blast your ears directly, all you need to do is put it up on a riser, though that won't be necessary.
The same box (cabinet) also houses a good preamp and its corresponding power amp, which is connected directly and internally to the speakers, forming a single Combo (combined) unit.
The company offers various “combo” configurations that differ mainly in power, which usually also means a larger or smaller overall size and weight for each model. The model we choose will also depend on other factors, such as price, how easy it is to transport, whether it has enough power to cover our needs, and whether it will bother our bandmates or neighbors if we use it for rehearsing, and so on.
The AMPEG BA115HP
The one we're looking at today isn't the most powerful combo AMPEG offers, but it is one of those that seem best suited to solving the stage “problems” explained above. It also works as a monitor in the studio or rehearsal space.
Personally, I find it a bit “heavy” (36 kg) and hard for one person to carry, at least if we have to move it up or down any kind of stairs, at which point we'll surely need someone else's help.
That said, it has a pair of generous, comfortable handles on the sides to grip it properly. It also comes with four sturdy swivel casters that we can attach to the four bottom corners of the cabinet, making it easy to roll across smooth surfaces without much effort.
Its black finish looks very stately, with metal corner protectors that give it an image of strength and power. All the knobs and controls are visible on the top panel, all very easy to reach.
Its RMS output power is 220 watts, which is quite reasonable. Inside we find a large 15-inch AMPEG Custom speaker, plus a horn for better definition in the higher frequencies. It also integrates a special sound compression system designed by the company, which we can adjust to taste with a large knob located at the back and bottom of the cabinet.
It also contains a solid-state preamp with an efficient three-band EQ, as well as a generous frequency control (with 5 very different settings) to dial in the mids to our liking.
Its line output is a balanced XLR type, which makes for a more suitable connection to the venue's mixing console.
A distinctive feature of this model is a built-in electronic tuner alongside all the controls, which shows the “name” of each note being played on the instrument connected to the combo. It also has indicators to help you nail the pitch more accurately (raising or lowering your tuning). Next to the tuner there's a switch called MUTE that, when engaged, cuts the sound from the speakers so we can, for example, tune more accurately.
This also lets us plug and unplug different instruments into the preamp without producing those annoying “pops,” which would happen without the MUTE.
There's also a line input, in case we want to feed in the signal from a CD or other player, making our practice sessions better.
Likewise, using its headphone output also cuts the sound from the speaker system, letting us work silently with respect to our surroundings.
Its dimensions: 1346 x 1346 x 991 mm.
There's a similar model with 300 watts instead of 220. Everything about it is bigger, including its total weight and, of course, its price.
AMPEG makes other amplifier series, for example with the preamp separate from the cabinet that holds the speaker, and with more than one cabinet/enclosure if desired.
There are even models smaller than the one I'm presenting here, but in my opinion, this BA115HP will be enough on stage, as well as for rehearsals and even recording studios (where it might work best using its line connection).
I miss a good case, for example an aluminum one, that would let us transport it without external damage. I imagine that if it came standard, it would raise the “starting” price. Of course, we could always buy one as an accessory, which in my view should be kept in mind, unless the combo is going to be used in a more permanent location (auditorium, recording studio, rehearsal space, etc.)
