The fiberglass body and unique design was key to projecting the sound of a double bass into an electric amplifier.
His idea was one of the many used by the Ampeg Company.
It features a Noise Gate to control low-end buzz, switchable high-pass and low-pass filters to provide even more tonal options, and a Power Soak circuit that allows you to dial in as much overdrive as you want, without having to crank the output gain.
Harnessing UA’s groundbreaking Unison technology, the Ampeg B-15N plug-in gives you the impedance, gain staging, and circuit behaviors that have contributed to making this iconic bass combo one of the most recorded bass amps in history.
An evolution of the classic B-15 recipe, the B-15N sports two channels — 19 — each offering two flavors of iconic tones.
Ampeg introduced a variety of guitar, bass, and accordion amplifiers throughout the 1950s, and in mid-1956, he hired Jess Oliver, who became Hull’s right-hand man through most of the 1960s and is mainly responsible for designing the Portaflex.
Ampeg was always trying to perfect the tone of their amplifiers and Oliver began experimenting with designs such as a double-baffle porting system and a closed-back reflex cabinet.
More accurately, the Stones acquired several prototype SVT bass amps and cabs (and, later, several VT amps) rather urgently while rehearsing for that tour, after their own amps failed at the hands of U. In addition to bassist Bill Wyman’s initiation of the now-legendary 300-watt SVT, Keith Richards and new Stones guitarist Mick Taylor also played through the massive bass rigs, but the six-stringers soon evolved to V Series guitar amps, which provided some of the best Stones tones of the ’70s.
The V Series Ampegs were designed by Dennis Kager, and remain very much within the Ampeg ethos – or, perhaps more accurately, represent an extension and enlargement of that ethos.