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Ampeg is a manufacturer best known for its bass amplifiers. Although specializing in the production of bass amplifiers , Ampeg has previously manufactured guitar amplifiers and pickups and instruments including double basses , bass guitars , and electric guitars. Everett Hull born Charles Everitt Hull , a pianist and bassist working with bandleader Lawrence Welk in Chicago, had invented a pickup for upright bass in an effort to amplify his instrument with more clarity.
Hull's design placed a transducer atop a support peg inside the body of his instrument, inspiring his wife Gertrude to name the invention the "Ampeg," an abbreviated version of "amplified peg. Patent 2,, was awarded the following year. The Hulls relocated to New Jersey, and Everett met electrical engineer and amp technician Stanley Michael, who was selling a bass amplifier of his own design, soon renamed the Michael-Hull Bassamp. Michael left the company in , leaving it to Hull, who relocated the company the following year to 42nd Street in Manhattan, above the New Amsterdam Theatre , renaming it "The Ampeg Bassamp Company.
Additionally, Eddie Safranski signed on with Michael-Hull to promote Ampeg products , receiving a royalty payment for equipment sold by their influence. In , local musician and electrician Jess Oliver visited Ampeg's offices to purchase an amplified peg, and upon easily making the installation himself, Hull offered him a job.
Oliver didn't join Ampeg on a full-time basis until , the same year that Ampeg's name was simplified to "The Ampeg Company. In , Ampeg introduced the B, a bass combo amplifier with an innovative flip-top function, invented and patented by Oliver. The B was the first in the company's Portaflex series, and after becoming the preferred studio amp of session musicians like James Jamerson and Chuck Rainey.
The B and its subsequent variants went on to become the most-recorded bass amplifier in history. In , Ampeg introduced the plastic-bodied Baby Bass , a compact upright electric bass created from the Zorko bass, whose design Ampeg had acquired from the Dopera brothers  , along with a unique Oliver-designed, Ampeg-patented pickup.
In , Ampeg and its 40 employees moved to a new manufacturing facility in Linden, New Jersey. At 8, square feet, it was three times larger than their previous home. In June of the following year, after continued struggles to meet production demands and maintain cash flow, Ampeg announced an initial stock offering and became a publicly-held company.
By , Ampeg had employees and needed more space, relocating to a larger space one block away. The company's ads continued to feature prominent classical, jazz, and country artists, but with a notable absence of rock artists, and Hull strove to minimize rock musician visits to Ampeg's facilities. Hull's distaste for rock and roll music was further compounded by the success of Ampeg's chief competitor, Fender , as they continually bested Ampeg in overall sales.
Hull began to seek potential buyers for the company. In September , Ampeg became a subsidiary of Unimusic Inc. Unimusic consisted of investors interested in capitalizing on opportunities in the highly fragmented music equipment market of the time, not unlike CBS which owned Fender and Rhodes , or later Norlin which owned Gibson Guitars , Lowrey and Moog Music. After a year of conflict between Hull and Unimusic, Hull tendered his resignation on October 3, In an effort to establish an Ampeg presence in key music markets, Ampeg opened regional offices: in Chicago; in Nashville near the Ryman Auditorium ; and in the Hollywood Palladium in Hollywood.
Their road manager, Ian Stewart , contacted Rich Mandella at the Ampeg office in Hollywood, and Rich arranged for the band to use five prototype amplifier heads of this new high-output model. These employed a tube design to generate watts of power in an era when most tube amps generated less than The Rolling Stones took these prototypes and Manella on tour, playing all guitars and basses through them for the entire tour.
Armstrong designed a transparent plastic guitar and bass for Ampeg. The guitar was used by Keith Richards with The Rolling Stones during the same , , and tours and some early shows of the tour, and the bass version by Bill Wyman on the tour and some of the Winter tour shows. In , citing lack of compensation for his contributions to the V-series amplifiers, Armstrong left Ampeg, and refused to renew the agreement allowing manufacture his guitar and bass.
In , Ampeg was acquired by Magnavox ,  which owned musical instrument manufacturer Selmer , but was better known for televisions, radios and hi-fi components. In , Ampeg was acquired by Music Technology, Inc. MTI , a wholesaler specializing in amplifiers from Japan and keyboards from Italy looking to expand.
MTI also introduced five new solid-state amps and six new tube amps for Ampeg, and a series of effects pedals. But after production issues and substandard sales, MTI declared bankruptcy a few years later. In , St. Louis Music and its brands, including Ampeg and Crate amplifiers, ending their production at the Yellville, Arkansas facility in March , outsourcing amplifier manufacture to contract manufacturers in Asia. The current Ampeg company is mainly known in the field of bass amps. Ampeg holds six U.
In the lates Jess Oliver invented  a combo amplifier with a chassis that could be inverted and tucked inside the speaker enclosure to protect the vacuum tubes. This combo bass amp was introduced in as the Portaflex , and remained a popular choice through the s. In , Ampeg became the first company to incorporate reverberation reverb in an amplifier with its Reverberocket , which preceded Fender 's Vibroverb amp by nearly two years.
During the s Ampeg only produced fairly low wattage combo amplifiers. Rock concerts were becoming increasingly large affairs and bigger amplifiers were needed. The high power rating made the SVT a candidate for use in larger venues. The SVT saw widespread use by rock acts in the s and is still considered by many to be the world standard reference bass amp. In the mids, SLM issued several guitar amplifiers under the Ampeg name. Some of these, the "Diamond Blue Series," used the names of vintage Ampeg models such as Jet and Reverberocket and featured the bluish-colored diamond-checkerboard covering associated with Ampeg amps of the s.
The circuit designs of these amplifiers, however, were new. The Portaflex bass amp was reissued, with updates intended to make it more appealing to modern bass players. The Ampeg GVT series, introduced around , is a series of tube amplifiers built in South Korea, employing the Baxandall tone circuit. Portaflex : PF class D head. Ampeg also manufactured or had manufactured for them lines of quirky but distinctive instruments to complement their amplifiers.
Baby Bass , introduced around , was an electric upright bass with a full-size wooden neck and a cello-sized Uvex plastic body. It appeared in Ampeg's price list until about , though popular only with bassists in Latin and salsa bands. In the early s, Ampeg-branded guitars and basses were produced by Burns of London.
These instruments did not sell well because import costs made them too expensive compared to Fenders and Gibsons. Baldwin 's purchase of Burns in ended the association with Ampeg.
In , Ampeg introduced their home-built line of long-scale " Horizontal Basses " aka "scroll" or "f-hole" basses , both fretted and fretless reputed to be the first production fretless electric bass [ citation needed ]. Some with different bodies were produced as the " Devil Bass " with distinctive horns, but the circuitry was identical. Originally using a transducer below the bridge, they were redesigned around to use a conventional magnetic pickup. At the same time, short-scale fretted and fretless basses, with magnetic pickups, were also produced.
In , the Horizontal Basses were replaced by the Dan Armstrong -designed "see-through" guitars and basses, with bodies carved from colorless acrylic plastic. The guitars incorporated slide-in user-changeable pickups, and the short-scale basses used two stacked coils with a "pan" pot [ jargon ] for a wide range of tones.
Production of the "see-through" instruments ended in when Armstrong left the company. In the mids, Ampeg had a line of Japanese-made guitars and basses under the "Stud" name. Some of the Stud instruments were poorly built e. Ampeg also produced effects pedals, including stand-alone reverb units in the 60s, the Scrambler distortion from a resurgence in interest resulted in an updated Scrambler being reissued in along with Sub-Blaster octaver that produced a note one octave down , the Phazzer phaser from the mid- to lates, and a line of nine stomp boxes produced in Japan in the mids.
There were also Ampeg branded accessories that included covers, picks, strings, straps, polish, as well as two practice amps, the Sound Cube and the Buster a Pignose clone. Currently, Ampeg mostly offers covers, some outerwear, and a few other accessories with their logo. In the mid- to lates, Ampeg reissued the Baby Bass, the Horizontal Bass,  and the "See-Through" instruments, as well as wooden instruments based on the "See-Through" design.
From Wikipedia, the free encyclopedia. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Main article: Ampeg Portaflex. Main article: Ampeg SVT. This section needs additional citations for verification. Ampeg: The Story Behind the Sound. Milwaukee: Hal Leonard Corporation. Premiere Guitar. Gearhead Communications, LLC. Retrieved 18 April Premier Guitar.
Ampeg went back to a tube rectifier and changed to a printed circuit board in BNC. This model lasted until mid , when they introduced the BNF with fixed bias tubes and a single-baffle cabinet.
Ampeg went through numerous ownership changes over the next two decades with Unimusic taking over in , Magnavox in , and MTI in Louis Music bought Ampeg in and finally returned some stability and respect to the brand.
The company also reissued the BN Portaflex with blue check covering in Categories : Audio equipment manufacturers of the United States Guitar amplifier manufacturers Companies based in Woodinville, Washington Musical instrument manufacturing companies of the United States. Hidden categories: Articles needing additional references from November All articles needing additional references All articles with unsourced statements Articles with unsourced statements from January All articles that may contain original research Articles that may contain original research from January Citation overkill Articles tagged with the inline citation overkill template from January All articles with vague or ambiguous time Vague or ambiguous time from January Articles with unsourced statements from April All articles that are too technical Wikipedia articles that are too technical from January All articles needing expert attention Articles needing expert attention from January Articles needing additional references from January Articles with unsourced statements from September Articles with unsourced statements from January Commons category link is on Wikidata.
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Boss is a manufacturer of effects pedals for electric guitar and bass guitar. It is a division of the Roland Corporation , a Japanese manufacturer that specializes in musical equipment and accessories. For many years Boss has manufactured a wide range of products related to effects processing for guitars, including "compact" and "twin" effects pedals, multi-effect pedals, electronic tuners and pedal boards. In more recent times, Boss expanded their product range by including digital studios, rhythm machines,  samplers  and other electronic music equipment. The earliest Boss product was called B The Boss , released in This came with a clip-on pre-amp and a pickup to amplify acoustic guitars. At this point the Boss company had not been formed and it was still a Beckmen Musical Instruments product as seen on the B box .
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