Meet the XVenture team. His inspiration for this was derived from a belief that organisational success and prosperity is achieved by people having the right environment to work and learn together with belief, passion, creativity and fun. He is a highly regarded business adviser and coach in both entertainment and the corporate World and is the Founder of Pragmata working with organisations, teams and individuals groups such as the dance show Burn the Floor, the UK based French pop group The Penelopes and the Noll Brothers. Mike is passionate about music. Mike was also recently featured in John Eales book “Learning from Legends: Mike has a first degree and Masters in Business Administration, professional human resource and healthcare qualifications and is also a trained NLP practitioner and accredited Belbin and TMS practitioner. Mike lives in northwest Sydney and is married with four children. Inspired by developing XVenture Corporate Challenge into a bigger brand concept, Daniela joined Mike to develop a business, which offers all of benefits organisations and teams gained from their participation in the TV show, to organisations year round.
Bass amp Ampeg V-4B Classic Series Ampeg SVT410HLF 4×10
If you need more volume that badly, get a bigger amp, another V4 used in conjuction, or use more speakers. I think there was a factory hop-up kit offered Not so on everything but the tube chart, and that’s only half right. Ampeg did use ‘s and A’s and specify them, but it was because they got them at a discount from RCA, who was trying to use Ampeg’s reputation for power to help sell them after the hifi market ignored them.
If those connections were used in ultralinear configuration, then those tubes could potentially develop more power than their standard brethren in the right circuit, but there is no advantage to using them over a regular 6L6GC in Ampegs. The is a completely different tube, the next ‘step up’ in power in the US beam tetrode family of tubes:
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My amp is older than me. I’m middle-aged and I’m falling apart. Why should my amp be any different? I’ve done some other work on it before [Part 1], but ye olde Ampeg V-4B was well overdue for a recap still looks better on the inside than me.
DannyR in All Forums This is going to take a while, please be patient. Found records in All Forums. I’m sure it’s a pretty good unit. You could just clean and recap it without a schematic and it would probably stay working for a good while. Do you have a website with more information about the amp? Recommended direct drive turntable 0. I couldn’t help myself! I also have a set of nht’s that are collecting dust.
I saw the below video, I never have done it myself.
One more step
This information original was found on The Unofficial Ampeg Page http: I pulled this information from Google’s cache of the site. It has a note at the top of the page that they were reprinting with permission from the authors of Ampeg:
Oct 08, · The Ampeg V-4B W All-Tube Bass Head is a remarkable reissue of the legendary original, delivering the pure tube tone and unmistakable grind that .
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Ampeg SVT810E Classic Series 8×10″ Bass Speaker Cabinet
Tuesday Night Recording Club — Oct. It was almost like taboo…how dare we demystify the process of creating this masterpiece. It is for this reason that I feel the need to clear a few things up. In fact, that is what fuels our choices. Second, I love learning about how other engineers make records. I typically work out of my own studio, and rarely do I get the chance to compare my methods with the methods of others.
To=20 gig I bring this amp and a Ampeg V4B but I could use it alone it = never=20 broke down. Wiring is like old Fender, road proof, schematic is = stick on=20 chassis cover so .
No longer did we strive for volume, as watts seemed ample for the larger rock venues that the SVT was designed for. It was strange, however, that Ampeg decided to launch another bass amplifier only two years later — and stranger still that it was only watts. Ampeg launched the V range in , which included the V4 guitar amp. Bass players soon started to adopt the V4, enjoying its power and tone.
Ampeg were quick to spot this and launched the V4-B in It was almost identical to the V4, the only major difference being the removal of the reverb unit. The result sounded huge, with fabulous low end. Unfortunately the low end projected several metres away from the cab, leaving the player needing more volume when standing next to it.
This gave the amp watts, although this figure underrates the output as it pumps out over watts. The front panel features dual inputs, each with their own volume control. Alongside are Treble, Mid and Bass controls. Above the tone controls are three black rocker switches — ultra high, ultra low and a mid shift selector switch — offering three frequency settings at Hz, Hz and Hz.
The mid pot boosts and cuts above and below the selected frequency. The original V4-B was adorned with silver knobs and black switches, but the entire V range had a facelift in the mid s, adding white rocker switches and black knobs.
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It has EQ settings for each channel, as well as a master volume. Because of this, zeroing in on the sound you are trying to achieve isn’t too hard and there is a great deal of variety available. It is easy to get a good sound out of this and has a great sound quality overall. I don’t have a manual for this, but it is easy enough to use that you shouldn’t need the manual too much. I only use this amplifier with a clean tone, and I always get great sounds with this.
Its ease of use makes it a quick process to get a good sound from this amp. The sound is full and great for both recording and live use. The price is reasonable if you can find one used, and is great option for all bass players looking for a high end amplifier. All in all, the Fender Bassman amps from the s are some of the best bass amplifiers around.
Did you find this review helpful? Mounted with good lighting and a cab with Weber.
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Ampeg Portaflex In the late s 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. Characteristics[ edit ] A particular characteristic of Ampeg amplifiers in the s is that they were designed to be used for jazz and other types of music where distortion was not sought after — as Everett Hull had a major contempt for rock and roll music, and his hope that it being merely a “passing fancy” never materializing, had merely manifested his dismissive attitude towards the genre.
The closest they came to a rock’n roll endorser at one point, was by way of Joe Long , a left-handed bass player of the Four Seasons , who played the company’s Horizontal Bass.
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Why should my amp be any different? It still looks better on the inside than me. More specifically, electrolytic capacitors. After decades, they age and will drift from their original rating or even die. It might change the tone. In the power supply, though, capacitor drift is a bigger deal: The should be replaced before that happens. There is no documentation provided, however, so an ability to read the schematic is helpful. A bunch of photos would also be nice and is the entire point of writing this.
Failing that, there are newly provided fiber wafers that can be installed. In any case, just rewire the new cap exactly in position just like the original was. Fliptops has provided exactly what you need, and therein lies the confusion. The original C20 has an extra lug that confuses the matter. Fliptops has provided a capacitor that has only the two necessary lugs.
All user reviews for the Fender Bassman 100 (Silverface)
Features one channel and two inputs; volume, bright, treble, treble expander, bass, bass expander, bright switch, deep switch, stand-by switch, pilot light for stand-by and operate. This amp was built to play larger halls and outdoor concerts. The lack of reverb was not a big issue as most live performances had acoustics full of reverberation halls, arenas.
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