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“For this tour Adam [Clayton] has simplified his whole setup,” Eiriksson continues. “We have ditched the bass subs and only have an Ampeg B15 on stage. There are a couple extra DIs and another amp selection running under the stage, but they are only used when needed for different flavors on particular songs.” - See more at: http://www.mixonline.com/news/tours/all-access-u2-innocence-experience-tour-2015/424970#sthash.JZS6LYok.dpufmore
“The B-15 has always been a part of the studio experience for me. They were ever-present in all the studios I worked at in Chicago, New York, and L.A. No matter what kind of music you were recording, from R&B to jazz to rock, you could always find a suitable sound through it. In recent years, even with all of the other choices available, the B-15 has become more coveted, and now it’s exciting to see the release of the Heritage B-15. I hope I’ll be doing sessions for many years to come on both vintage and new models. Thanks, Jess Oliver and Ampeg, for getting it right from the jump.”more
“Wow, the B-15— the stalwart of the studio. When I broke into the session scene, all the studios had ’em, with a lock and chain around them and MANHATTAN BASS CLUB stenciled in white—although I was always able to use them. At that point, they were mostly for monitoring and pretty much had to be turned off when the red light came on to prevent leakage in the live room. I was a DI guy back then, but I used the amp for tuning, jamming, and working out ideas, as well as live in the clubs. Later, they were used as recording amps until the mid ’80s, as bassists realized the B-15 was a great way to get a big amp sound by isolating it and putting a mic in the ‘sweet spot’ through proper placement. Thanks, Jess Oliver, for looking out for your fellow bassists and innovating such amazing gear as the B-15 and the Baby Bass!”more
Ampeg B-15. Verdine White uses it for studio recording (dont know if its the new one or an old one) Interview of Verdine White by the website Bassplayer.com. At the end of the interview, the official bass tech of Verdine White talks about the rig of Verdine White, including Preamp, and Cabinetmore
For his entire career, Mark Saunders’ tonal identity has come from his strict use of Fender Jazz Basses powered through big 8x10 rigs, which gives him his ideal, low-end-heavy sound. But when he entered the studio to record Florence & the Machine’s latest album, producer Markus Dravs had something else in mind. “I walked in and Markus said, ‘The only way I record bass is with a pre-CBS Fender Precision through a 1960s Ampeg fliptop [B-15 amp]. It’s the only way do it properly, no exceptions.’ I was pretty dumbfounded.” After a couple weeks of adjusting to the new setup, Saunders grew to love the change so much…more
“I use the B-15 when I need a punchy, sweet, natural tone—which is most of the time, in fact. Sonically speaking, I just find it so consistently rewarding. The amp seems to provide the perfect spectrum, with the right amount of ‘note.’ It’s midrangy, without ever being ‘pokey’; it’s deep without being flabby. Even on some big rock recordings, I’ve found it well suited for a surprisingly big sound. Historically, I think the platform was amazingly well conceived and forward-thinking. There’s nothing like it, nor will there likely ever be.”more
“I’ve been using my B-15 on almost every recording these days, except the most distorted rock tracks— although I recently drove the heck out of one on a session for producer John Shanks. What a glorious sound! It’s the perfect recording bass amp: It doesn’t need to be loud to get a killer tone, and is easily tucked away in a closet or isolation booth. With a flatwound-strung bass it’s old school, and with roundwounds it’s as modern as anyone needs. Pure bass tone that records with almost no effort, no unwanted frequencies to cut, nothing to be added—Jess Oliver got it right! The B-15 has stood the test of time.”more
“When I started on the New York session scene, the B-15 was the bass amp you saw in every studio. By 1983 or so, you stopped seeing them; bass players were recording direct by then. But I did a lot of early sessions using a B-15. If you listen to Luther Vandross’s Never Too Much album, you can hear it. Engineer Michael Brauer made a little ‘house’ for the amp, from baffles and blankets, so the sound wouldn’t leak into the other instrument mics. I think engineers liked the warm, tube-y sound of the B-15, combined with the small, unobtrusive size.”more
“From 1962 to 1982, the B-15 was my main amp; that includes all gigs, films, and many recordings. In the New York studios, most of the amps owned by the Manhattan Bass Club were B-15s or B- 12s, and as a member, I provided one. The amps were usually placed on some kind of stand or support system, miked or with a direct signal taken from the back of the amp to the board. Many engineers and bassists preferred the B-12 because it was smaller and not as loud as the B-15, and it had a specific and even bass tone. Both amps were terrific and a big part of my career and my sound.”more
“The B-15 was the amp I owned and used live and in the studios in Detroit, and later in Philly and New York. In Nashville, when they mic a live amp, it’s usually the B- 15; I used one on recent recording projects for Peter Frampton, Rod Stewart, and Phil Collins. They remain in studios to this day because younger producers, engineers, and bassists love the sound, whether they’re recording something old school or contemporary music. The B-15 is a timeless bass amp with a timeless tone.”more
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