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 Cabinet

This bass amplifier was sold on Gilby Clarke’s official Reverb.com shop. The listing’s description stated; “This Ampeg B-15R w/ B15 1X15 Ext. Cab is owned by Gilby Clarke. This was used in Gilby’s video for "Rock n' Roll Is Getting Louder". This amp rocks! It has a great pair of speakers with a super lush low end and a lot of customization on the frequency and tone side. There are some light scuffs and scratches throughout and the handle has some areas that are pretty worn, but overall this is in great shape. All items in The Official Gilby Clarke Reverb Shop ship fully insured with delivery confirmation and a signed and embossed Certificate Of Authenticity.”

"I was always using the [Ampeg] B-15, which is great, but it’s soft and doesn’t punch like that. It doesn’t get edgy."

Used on Murmur, according to these two sources.

R.E.M.'s Murmur by J. Niimi (2005)

Mike Mills had been using a Dan Armstrong bass up to the time of Chronic Town, but Easter lent him his Rickenbacker 4001 bass on an early garage session, and by the time of the Murmur sessions Mills had bought his own. Mills played through the studio's trusty Ampeg B-15, which was set up in the hallway outside the live room.

Sound on Sound, November 2009

This time around, while Bill Berry's drum kit was conventionally miked in the booth — "I'm sure we had an [ElectroVoice] RE20 on the bass drum, because that's what you did in the United States at that time” — Mike Mills played his Rickenbacker bass through the studio's Ampeg B15 amp which was recorded with a distant mic in a small corridor. "I had probably just read that Geoff Emerick miked Paul McCartney from about eight feet away,” Easter says. "We would try stuff like that, and sure enough it worked.”

“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.”

Used for Toys in the Attic, as stated by engineer Jay Messina in this March 21, 2017 Mix Online interview.

“We had [bassist] Tom Hamilton going through an [Ampeg] B15 amp, where we took an output—a custom direct out of the head of the amp—and we would mike it with an RE20,” Messina adds.

Donald "Duck" Dunn used an Ampeg B-15 amplifier for many recording sessions at Stax Records. He remarked that it "sounded thin while recording yet just right when played back," as documented on the Duck Dunn Remembered website.

At minute 0:57 you can see the Ampeg B-15 Bass Amp behind Rick. It used that amp for the Last Waltz Live in 1978

and in the studio it's always a vintage Ampeg B-15 flip-top

“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.”

"I will say that the 57 on the B-15 with a DI is a trick I learned from the great Thom Monahan"

"This time I used a Gibson EB-2 hollowbody that made it on the record a whole lot. The EB-2 has such a great midrange, but it has a baritone switch, too, so it got some insane low end that is so heavy. It sounds nuts! Otherwise, I used the same setup I’ve used on the last few records. Almost everything was running through the Ampeg B-15 I always record with, and I used my ’65 Fender Jazz Bass for a few songs."