TEST: Ampeg BA-110

Ampeg! A name like Donnerhall! Even if it may sound a little pathetic, in this case this statement should be taken literally. Only in very few cases is a company name as closely linked to a product as with this company and anyone who has ever experienced an SVT with a matching 8x10" box in the upper load range knows what I'm talking about. Unfortunately, as with almost all musical tactile experiences, there is a reduction in the practicality and handiness of the bass monster. Anyone who has had the pleasure of transporting the combination mentioned above, ideally with everything installed in massive flight cases, also knows what I'm talking about.

For this reason, Ampeg has for some time now felt the need to save as much of the legendary “big” sound of its cars as possible into contemporary, smaller designs in order to give ambitious beginners a taster course in Ampeg sound as well as a transportable solution for small shows or rehearsal rooms.

Ampeg also has the necessary experience when it comes to combo amplifiers, as the manufacturer had already offered a portable amplifier with the B-15 almost four decades ago to pay tribute to the slowly emerging session mode. Ampeg faces huge competition, as there are countless competitors in this segment who also want their piece of the low-frequency practice cake. With the recently introduced BA-110 (10 inch loudspeaker, 35 watts) and its little brother BA-108 (8 inch loudspeaker, 25 watts), the top dog of all-tube heads wants to establish its trademark in the small range too.


construction

The two suitcase amps are definitely transportable, as they only weigh 14.5 kilograms (BA-110) and 12.5 kilograms (BA-108). There was no compromise on stability either, as the chipboard walls are 16 millimeters thick and completely covered with Tolex. In addition, metal corners protect the housings against impacts on the edges. The front covering of the combos is removable; by pulling on a small plastic tab you can save yourself the anachronistic use of the slotted screwdriver. What emerges is a perfectly crafted 10- or 8-inch speaker, which has 2 additional bass reflex openings to give the housing dimensions, which are actually rather meager for a bass amplifier, more volume.

At first glance, you notice that the small cubes are not only designed for normal standing operation, but were also designed for wedge operation due to a flattened area on the back of the housing. Even if playing in this orientation seems very sensible in this performance class, the amps unfortunately prove to be very unstable in this playing position. Especially if the power cord is positioned on the back, the amps tend to tip over and must be prevented from doing so otherwise they will fall onto the back with just a light touch.

The amplifier section is pleasantly simple, as is typical for Ampeg. In addition to two jack input sockets with different sensitivity (active bass -15 dB or passive bass 0 dB), the combos have a standard three-band equalizer in the form of a bass, mid and treble control. External sound sources such as an MP3 player can be fed in via two RCA inputs, which can be adjusted to the volume of the bass signal using a separate volume control. As is usual in this performance class, both combos also have a headphone output, which switches off the internal loudspeaker when occupied. On the back, the combos have an FX loop-in path and a line-out, the output signal of which varies depending on the volume set on the amplifier. It's nice if you have external power amplifiers at the output, but bad if the signal is routed to the FOH position. There are no connection options for an additional box using the internal amplifier.


Practice

As a rough rule of thumb for the guitar:bass performance ratio, you can still use the well-known principle of 1:3, i.e. a bass amplifier should be able to deliver approximately three times the power as a comparable guitar amplifier. Based on this calculation example, it quickly becomes clear that the two Ampeg amplifiers were not designed for a real band contest, unless you want to get into the ring with 10 watt “guitar noises”. Moderate rehearsal room activity or ambitious practice amp use, on the other hand, is more the specialty of the two combos.

In terms of sound, Ampeg manages to shovel a lot of the classic tone into the practice amp category. Of course, no one expects the SVT tone for their pocket, but the certain “bony” tone can still be noted in both amps. While the BA-108 will find its way exclusively as a practice amp due to its speaker and performance design, the BA-110 can offer more bass foundation and assertiveness in terms of sound and volume.

Already set flat without active equalizer processing, the two combos offer a balanced sound. The powerful low-mid range, one of the characteristic Ampeg trademarks, can already be clearly heard in this setting. As expected, you should use the combination of bass control and volume moderately, otherwise it can lead to symptoms of overload. The products were not developed for heavy bass storms, common sense will undoubtedly recognize this and will not come up with the idea of challenging physics.

Nevertheless, both amps perform surprisingly confidently even at higher volumes, clipping very late and the background noise factor in terms of “rattle-and-clatter”, which is often found in small bass amps, remains largely a myth here. The full-range speakers do their job well and manage to deliver a consistently “adult” sound thanks to the combination of front speaker installation and double bass reflex opening.


Conclusion

Even though the competition in the area of bass practice amps is immense, Ampeg manages to transfer the legendary sound of its high-priced devices to a large extent into the small practice amplifiers. Thanks to a great deal of experience and the widely practiced “Developed in Home Country, Built in China” approach, the products BA-110 and BA-108 will find their way into music stores at a comparatively low retail price.

If you are looking for a small, light and portable bass amplifier combined with a decent tone, you should give the two brothers a listen. Whether you are a beginner or an ambitious user, the small cubes are a real recommendation in the field of practice amps due to the good workmanship, the coherent and simple construction and the good sound.

——————————

Additional Informations:

Ampeg, a name synonymous with bass amplification excellence, has a storied history that has left an indelible mark on the world of music. Established in 1946, the company's journey from its humble beginnings to becoming a global leader in amplifier technology is a tale of innovation, commitment to quality, and a lasting influence on musicians across genres.

## The Genesis of Ampeg

Ampeg's origin story can be traced back to Linden, New Jersey, where Everett Hull and Stanley Michaels founded "Michaels-Hull Electronic Labs." The duo embarked on a mission to develop cutting-edge amplifiers for musical instruments. As their vision crystallized, they renamed the company "Ampeg," a portmanteau of "amplified" and "pegged," signifying their dedication to delivering amplified sound.

Ampeg's initial foray into the world of amplifiers proved groundbreaking. They introduced innovations that forever changed how bassists were heard on stage and in the studio. Their early success was driven by a commitment to producing top-tier sound quality.

## Pioneering Amplifier Technology

Ampeg's journey of innovation in amplifier technology is marked by several pivotal milestones:

### 1. Portaflex Series

The 1960s saw the introduction of the Portaflex series, a game-changer in amplifier portability. With its flip-top heads and matching speaker cabinets, the Portaflex series made it feasible for musicians to transport their equipment conveniently while retaining the powerful Ampeg sound. This innovation solidified Ampeg's reputation for both quality and portability.

### 2. SVT Series

The crown jewel of Ampeg's product lineup is the Super Vacuum Tube (SVT) series, unveiled in 1969. The SVT, a 300-watt all-tube bass amplifier head, is renowned for its unmatched power and distinctive sound. It became the go-to choice for countless legendary bassists, including James Jamerson, Jack Bruce, and Geddy Lee. To this day, the SVT remains an iconic amplifier highly sought after by musicians, a testament to Ampeg's enduring impact on the industry.

### 3. Ampeg V-4B

Another notable addition to Ampeg's arsenal is the V-4B, a versatile all-tube amplifier originally introduced in the 1970s. The V-4B is cherished for its warm, vintage tone and has garnered a devoted following among both bassists and guitarists in search of that classic Ampeg sound. It continues to be a popular choice for those who appreciate the warmth and character of tube amplification.

### 4. Ampeg Heritage Series

In recent years, Ampeg has remained at the forefront of innovation with their Heritage Series. These amplifiers combine modern features with the classic Ampeg sound, offering advanced technology while paying homage to the company's rich heritage. The Heritage Series ensures that both traditionalists and contemporary players have amplification options tailored to their preferences.

## The Signature Ampeg Sound

Ampeg is celebrated for its unmistakable sound characterized by warm, fat, and punchy tones. This distinctive sonic character is a direct result of their commitment to using vacuum tube technology in their amplifiers. The harmonically rich overdrive and deep low-end response of Ampeg amplifiers have made them a mainstay in a wide range of music genres, from rock and jazz to funk and beyond.

## Ampeg's Profound Influence on Music

Ampeg's influence on music extends beyond their iconic amplifiers. Their products have played a pivotal role in shaping the sound of countless legendary bands and musicians. From the iconic bass lines of Motown hits to the thunderous riffs of classic rock anthems, Ampeg amplifiers have been a driving force behind many seminal recordings.

Furthermore, Ampeg's dedication to innovation has set a gold standard for the entire industry. Many amplifier manufacturers have drawn inspiration from Ampeg's designs and technologies, leading to advancements in amplifier construction and sound quality across the board.

## Conclusion

In the realm of bass amplification, Ampeg stands tall as a legendary icon. With a rich history of innovation, a lineup of iconic products, and an enduring influence on music, Ampeg remains a name that musicians trust and admire. Whether you're a seasoned professional or an aspiring bassist, Ampeg's legacy continues to be an integral part of the musical landscape. The unmistakable sound of Ampeg amplifiers will resonate for generations to come, ensuring that the company's enduring impact on music endures as a timeless legend.

—————————-

20 well-known artists who are known for using Ampeg amplifiers:

1. James Jamerson - Renowned Motown session bassist.
2. Jack Bruce - Bassist for Cream.
3. Geddy Lee - Bassist and vocalist of Rush.
4. John Paul Jones - Bassist and keyboardist for Led Zeppelin.
5. Chris Squire - Bassist for Yes.
6. Jaco Pastorius - Influential jazz bassist.
7. Geezer Butler - Bassist for Black Sabbath.
8. Paul McCartney - Bassist for The Beatles.
9. Lemmy Kilmister - Bassist and frontman for Motörhead.
10. Flea - Bassist for Red Hot Chili Peppers.
11. Mike Watt - Bassist for Minutemen and The Stooges.
12. John Entwistle - Bassist for The Who.
13. Billy Sheehan - Known for his work with Mr. Big and David Lee Roth.
14. Kim Deal - Bassist for Pixies and The Breeders.
15. Krist Novoselic - Bassist for Nirvana.
16. John Deacon - Bassist for Queen.
17. Roger Waters - Bassist and songwriter for Pink Floyd.
18. Mike Dirnt - Bassist for Green Day.
19. Bootsy Collins - Funk bass legend.
20. Tina Weymouth - Bassist for Talking Heads and Tom Tom Club.

Please note that this list includes only a small fraction of Ampeg users, and there are countless other notable musicians who have also relied on Ampeg amplifiers for their signature sound.