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Description
The Ampeg B-15 is more than just a bass amplifier; it's a piece of music history. Revered for its iconic fliptop design, this amplifier is the heartbeat of countless classic recordings. Its all-tube construction and 25-watt power deliver a warm, rich tone that has been cherished by legendary bassists like James Jamerson and John Paul Jones. The B-15's unique design allows the head to be securely flipped inside the cabinet, enhancing portability without compromising on the robust sound quality that has made it a studio staple for decades.
The B-15 features a simple yet effective control layout, with volume and tone controls that allow for quick adjustments and tonal exploration. The double baffle 1x15 cabinet is instrumental in producing the deep, resonant tones that are synonymous with the Ampeg name. Over the years, the B-15 has seen various evolutions, including the introduction of a 4-input model with an advanced EQ, offering even greater flexibility for musicians seeking that perfect sound.
Whether you're in the studio or on the stage, the Ampeg B-15 promises reliability and a timeless tone that stands the test of time. Its blend of portability, ease of use, and rich sound make it a favored choice among professional bassists and enthusiasts alike.
Key Features:
- All-tube construction with 25-watt output
- Unique fliptop design for enhanced portability
- Simple volume and tone controls
- Double baffle 1x15 cabinet for deep, resonant sound
- Evolved 4-input model with advanced EQ options
Product specs
| Brand | Ampeg |
| Model | Portaflex B-15n |
| Finish | Random Navy Flair Vinyl |
| Year | 1960 - 1962 |
| Made In | United States |
| Categories | Bass Combo Amps, Guitar Combo Amps |
| Direct Output | No Direct Output |
| Electronics | Tube |
| Number of Channels | 2 Channels |
| Number of Inputs | 3 Inputs |
| Output Power (Watts) | 25 |
| Power Tube Type | 6L6 |
| Reverb | None |
| Speaker Configuration | 1x15" |
FAQs
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What is the power output of the Ampeg B-15 amplifier?
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The Ampeg B-15 amplifier has an output power of 25 watts, making it suitable for practice sessions and smaller live performances.
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What type of tubes does the Ampeg B-15 use?
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The Ampeg B-15 uses 6L6 power tubes, which are known for their warm, rich sound and are commonly used in vintage-style amplifiers.
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How many channels does the Ampeg B-15 have?
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The Ampeg B-15 features two channels, allowing for versatile sound shaping and a variety of tonal options.
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Does the Ampeg B-15 have a direct output?
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No, the Ampeg B-15 does not have a direct output, which means it is primarily designed for traditional mic'd amp setups.
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What is the speaker configuration of the Ampeg B-15?
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The Ampeg B-15 is equipped with a 1x15" speaker configuration, offering deep, resonant bass tones ideal for bass guitar amplification.
Videos
EMGtv
Bobby Vega talks Fender P Bass and Ampeg B-15 on EMGtv
Bobby Vega talks Fender P Bass and Ampeg B-15 on EMGtv
EMGtv
An Inside Look at the Classic Tones of the Ampeg Heritage B-15
Ampeg
Ampeg B-15 Flip-Top: The coolest bass amp?
Philip Conrad
Heritage B-15 Demo Clip 2
Ampeg
1960 Ampeg B-15 | The Final Tweaks
Psionic Audio
Reviews
PROS
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Unique Double Baffle Reflex cabinet offers a warm, distinctive sound
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Legendary tone, perfect for studio sessions and small gigs
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Highly sought after by professional players and producers
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Smooth, gritty sound that works well with P basses
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Portable size ideal for van touring and small venues
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High efficiency JBL speaker projects powerful sound
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Two channels with mixing capability for versatile sound options
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Known for reliability and dependability over the years
CONS
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Limited power may struggle against high-volume guitar amps
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Some models require significant restoration and maintenance
Owner Insights
We analyzed real musician discussions from forums and Reddit to find what players love, question, and tweak about Ampeg B-15.
Features and functionality
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The SushiBox tube pre-amp is specifically designed to emulate the B15 tone and has received positive reviews for its effectiveness in achieving this sound.
Source -
The PF-115HE cab has a stock Eminence speaker and includes a tweeter, while the 115LF lacks a tweeter and fliptop but is ported for warmth and fatness.
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Broughton Low + High Pass Filter pedals help manage subsonic frequencies, optimizing speaker efficiency and potential volume.
Source
Comparisons
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The Ampeg PF-20T and 50T are solid alternatives for achieving a B15-like sound, while the vintage B25B is essentially a higher wattage B15 with similar preamp stages.
Source -
Users find that the PF-50T offers a similar tone to the PF-350, indicating Ampeg's solid-state models capture vintage character well.
Source
Use cases and applications
User experience
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The Ashdown 220Touring combo offers a tube preamp with a single 12" speaker and features a passive, highly interactive EQ, challenging users to find their preferred sound settings.
Source -
Owners report that the PF-115HE cab can produce natural distortion when pushing the gain, but may sound "farty" at high volumes.
Source
Critic Reviews
5.0 out of 5
Based on 4 Reviews and 10 Ratings
A classic one, till Motown to Rolling Stones to who knows ?
I’m a long time half pro, or half amateur playing in bands since 1980.
By a long search of this type of sound and the knowledge of his use in many records, i want to find one for an old style rock band, possibly split between gigs and studio. The size matters too… can be picked out in a van for touring not tailored for the SVT head and fridge.
After years of search, i finally find 15 kms from my town for a reasonable price in a farm, abandoned till the death of the step father of the now owner of a lot of musical stuff, in a bad look and situation (TOLEX ripping off, no earth for the wires in 110 v with a American fridge transformer, the latches rusted and out, the inside cabinet muddying and smell like a pond, etc…).
But the head is not rusted, the bulbs are old RCA lion or style, the 2 massive transformers are ok with some pink and blue spot of paint (?), and the fabulous speaker is an insane good JBL 140R from i presume the first upgrade or change of the beast.
It was the amplifier of a famous double bass and bass player in this city for one of the most famous singer of the times in France who was born, and lived sometimes in his native town : ).
So for a cheap negotiation I was back with a legendary amplifier who surely was on some records and gigs here and there;
I restored the whole during a period of 4 months with the help of an old friend of mine who had a rental shop for back line in the other side of the town, made some buying from US Ampeg renovation specialist, adjust this and that and find this amplifier a KILLER, this one version is the S (OR N don’t remember by now ) from 1968-72, 30 W but with the high efficiency of the JBL speaker project and sound more like an 80 w.
2 channels with four entries Vol, Bass, Treble and 2 baxendall filters just like the V4 or SVT, so you can mix or play in one or the two or the mix of two.
Oups so long this review :)
Try and play if you can find one of this beast !
2065
Killer Tone
I have my grandpa's '67 now. Absolute killer tone. That perfect Ampeg sound that isn't too rumbly, and stands out well in the mix.
77
1962 Classic once owned by James Jamerson
Everyone knows that the B15 is a fab amp. The studio bass amp of choice for pro players and producers. Theres a certain balance they have that sits in a track. Not always the best amp for every bass but great with most esp P basses. Mine belonged to the king of em all James Jamerson.
Artist usage
Add artist
This pic shows Jimi Hendrix using a Ampeg B-15 with the Ronettes
You can see an ampeg b-15 behind Les in the music video for Wynona's Big Brown Beaver
Used on John Mayer's Continuum, as stated by recording engineer Chad Franscoviak in this October 1, 2006 Mix Online interview.
To capture Palladino's bass, his instrument typically went into either an Ampeg SVT or B-15 into an Avalon U5 mono instrument preamp and DI. “I took the throughput into his amplifier and usually put a FET 47 close up, and on occasion an RE20. Then I almost always put an NS-10 on his bass cabinet to get the ultralow stuff,” Franscoviak explains. “I would compress the DI and the FET 47 lightly, not in any way that would effect the dynamics of his performance, only for tonal reasons. I would never put a compressor on the NS-10.”
“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.”
Kim Thayil has confirmed the use of an Ampeg B-15 bass amplifier, stating, "We’ve always embraced feedback, starting in the early days of the band—I used to record with Hiro’s backup Ampeg B-15 bass amp," as reported in an interview with Premier Guitar by Chris Kies.
During the recording sessions for "Death of a Bachelor," Brendon Urie used a 1964 Ampeg B-15 bass amplifier, as confirmed by producer Jake Sinclair, who had Urie play through his own amp. This information is documented in the article "Inside Track: Panic! At The Disco" on Sound On Sound.
According to this Premier Guitar article on Ty Segall, he uses a "1970s Ampeg B-15."
Used for the guitar on the soundtrack for Deadbeat, as specified in the appendix of this August 28, 2014 Electronic Musician interview.
James Iha’s Studio Gear
Thanks to Clear Lake Recording and engineer Brian Blake for the specs on James Iha’s Deadbeat music and recording equipment:
Recording/Studio: API DSM console, KRK V8 monitors, Mac Pro, Pro Tools 11
Guitar Recording Chain: Neumann U87 and M49B mics, Focusrite ISA 215 mic pre/EQ, Focusrite Red 2-channel compressor, Neve 1073 mic pre/EQ
(Borrowed) Guitar Amps: Matchless DC30, Swart AST, Ampeg B15, Fender Deluxe
Other Essential Recording Pieces: API 2500 compressor, API Channel Strip, Empirical Labs EL8 Distressor, Radial DIs
In a December 1999 EQ magazine issue, the engineer for There Is Nothing Left To Use, Adam Kasper, says Nate’s P-Bass was recorded through the Ampeg B15.
Album Usage
The Ampeg B-15 has been featured on the following albums:
That Wasn't A Dream
Pino Palladino & Blake Mills (2025)
House Of Memories
Panic! at the Disco (2022)
Xoxo
Jayhawks (2020)
Rock n Roll Is Getting Louder
Gilby Clarke & Gilby Clarke (2020)
Death of a Bachelor
Panic! at the Disco (2016)
V
Maroon 5 (2014)
Mind Over Matter
Young the Giant (2014)
King Animal (Deluxe Version)
Soundgarden (2012)
Back To Black (Deluxe Edition)
Amy Winehouse (2006)
Take This to Your Grave
Fall Out Boy (2003)
Frank
Amy Winehouse (2003)
The Last Waltz (Deluxe Version)
The Band (2002)
There Is Nothing Left To Lose
Foo Fighters (1999)
Murmur
R.E.M. (1983)
Back In Black
AC/DC (1980)
Toys In The Attic
Aerosmith (1975)
Genre Usage
Based on how artists on Equipboard use this gear, it is most commonly found in the following genres.
Used With
Based on how musicians on Equipboard use Ampeg B-15, it is most commonly used with the following gear.
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