TEST: Ampeg SVT VR

 I won't soon forget the exhausted, slightly reproachful look of the otherwise friendly UPS employee when he rang my doorbell to deliver a medium-sized package to me. At first I couldn't fully understand his request to help him carry the package because of its size until I helped myself.
When we arrived at the studio, an Ampeg SVT-VR bass head weighing a whopping 43 kg emerged from the brown cardboard packaging! Truly not for the faint of heart. Even the act of prying the amplifier out of the packaging with one hand and holding the packaging with the other hand fails miserably. The device can only be transported with full physical exertion and by a strong man alone. It is not for nothing that a carrying handle was omitted on the top of the housing and two massive folding handles were installed on the side.

Apart from the trademark “Marshall” in the guitarist class, there is probably no other product that is as closely associated with the term “rock” as Ampeg’s SVT class. Everything, really everything that had any status was on the move with these monsters when it came to low-frequency design over 30 years ago. Please take into account the fact that at that time, open airs were actually provided with a somewhat more powerful vocal system and a large part of the instrument sound actually came from the stage and not from the P.A. like today. came. There is a reason why many artists like Pete Townsend, John Entwhistle or Glenn Hughes complain about a rudimentary loss of hearing; the volume on stage was truly infernal at the time. In the age of digital switching power supplies under a kilo and bass amps the size of 4 cigarette packs, there must be a reason why Ampeg continues to produce archaic dinosaur-class amplifiers.


Construction:

The SVT-VR Amp is a reissue of the world-famous “Blue-Line” head from the early seventies in an all-tube design. A total of 12 glass bottles are used, 2x 12AX7 and a 12AU7 in the pre-stage, 2x 12AU7 and a 12AX7 in the driver stage and 6x! 6550 in the final stage. Due to the immense heat generated, the car has to be forced cooled; the thermal power plant is blown by a fan built into the rear wall. Ampeg refers to an output of 300 watts RMS at 4 or 2 ohms, i.e. a single 8 ohm box is not recommended and the classic 16 ohm cabinets are usually only found with guitarists anyway.

The whole thing is packaged in a very solid wooden structure, with a perforated sheet of steel at the back. The amp rests on 4 tapered rubber feet that fit into the corresponding Ampeg bass speakers. People have been arguing for years now as to whether you should actually place an all-tube bass amp on your speaker during a performance or next to it. It is known that heated tubes should no longer be moved if possible and any mechanical stress should be avoided during operation. Both have a negative impact on the service life and reliability of the component. On the other hand, IF a tube gets vibrations THEN definitely if it is placed on a loud bass speaker during the show. An amp built into the rack and padded with foam will certainly thank you for its longer lifespan, but visually the classic phallus shape of a stack can only be achieved with a top section. And anyway, who wants to carry this case monster? Amp plus case, that means at least 60 kg, i.e. the case is equipped with wheels and we have vibrations again during transport that nobody actually wants. How to do it........

The entire workmanship of the product is very clean and solid, only the rocker switches for the sound control (booster / midrange) make a downright pathetic impression. Wobbly, flexible and unclear when it comes to locking in, these cheap ones have nothing in common with the rest of the high quality of workmanship. It's a mystery to me how you can install something like that in a quality product. In return, you then have to deal with standby and power switches that are so massive and difficult to operate that delicate women's hands may not even be able to turn them.

As was often the case in the 1970s, a not insignificant part of the sound shaping is already anticipated by the different input sockets of the amp. The SVT-VR has four of these, 2 per channel, each divided into “Normal” and “Bright”. Channel one has a three-band tone control, which operates at 4Khz (+/- 12 db - treble), 40Hz (+/- 12 db - bass) and, depending on the selected center frequency, at 220Hz / 800Hz or 3Khz (+/- 20db - midrange). intervenes in the sound event. The channel also has 2 boosters at 8Khz (Ultra High) and 600Hz (Ultra Low) and a bass cut at 40Hz. Channel 2 dispenses with the midrange range and only has a treble and bass control along with 2 boosters.

On the back, next to the mains socket and the main fuse from left to right, we first find a polarity switch, which is due to the sometimes lousy quality of the power network overseas, for example in the USA (but only 2 conductors in the network fly to the moon.....simple laughable) or Japan makes perfect sense and can suppress ground loops. Despite the reissue, Ampeg has (fortunately) opened up a section of modernity and allows the bias or tube balance within the amps to be adjusted in just a few steps using a slotted screwdriver. Even an inexperienced user can carry out the adjustment quite quickly using an LED control, provided they have at least briefly familiarized themselves with the English-language manual. This refers once again to the structural peculiarities of all-tube amps and the importance of adjustment.

A suitable loop-in trio is available via slave-out, preamp-out and power-amp-in to feed or feed external devices. A symmetrical D.I. box, with selectable tapping point (pre/post EQ), or with ground lift and adjustable output volume, was also placed on the back. On the far right you will find the connection sockets for the speakers. As is now usual, the XLR plug has given way to the superior Speakon plug at Ampeg, and 2 jack sockets are still available for “emergency charging”.



Sound:

When connected and wired, no one can beat the SVT when it comes to its solid appearance. After flipping the power switch, a red LED makes it clear to us that the tubes are being preheated. On the back, an orange LED shows the correct tuning of the factory-adjusted power tubes. So then, switched to standby, the red LED changes to green and the inferno starts.... However, not in the form of sound but rather background noise caused by the construction. On the one hand, we have a very loud switch-on impulse, which really doesn't have to be there. All connected speakers make a powerful leap forward, a behavior that I have never experienced with all-tube amps.

However, the built-in fan, which starts working when the amplifier is switched on, shoots the bird down. I've only heard such a noise on cheap PC notebooks, you'd think you'd started a model airplane behind the amplifier. The fan is so loud that you can't actually put the amp in the control room when working in the studio. I realize that the immense heat generated when the device is in operation needs to be dissipated, but that is really too much of a good thing. Of course, the fan can no longer be heard on a loud stage, but this is a clear limitation when working in the studio.

Well, enough complaining, what does the “Godfather Of Rock Bass Amps” sound like now? Let's make it short, fantastic! Even if the bass control is unfavorable at 40Hz because it is too low and the midrange actually only sounds good at 800Hz, if a bass amp ever sounded legendary, it was the SVT. Mind you, we're talking about rock, hard rock and metal. Here we don't wrap things softly, pack them airily and serve them gently. There are low mids here that are so boney that no bass drum, no matter how loud, can affect the bass. The high-mid range, played alone is almost noisy to penetrating, and in the band context it finds exactly the frequency range that the guitar and vocals leave free. If you are looking for a flexible, multi-channel amp with different characteristics, you have come to the wrong place with the SVT. There is only one (!) sound here, but with the best that you can imagine for rock'n'roll.

The amp compresses even at low volumes and if you have the opportunity to actually drive the amp to the power amplifier saturation on a large stage or an open air event, you will realize how legends are created. Mind you, I'm talking about open airs in the sense of Rock-Am-Ring, etc. At sister's garden party, a turned-up SVT only ensures that the men in green are on the mat within a very short time.

Conclusion:

Infinitely heavy, maintenance-intensive, full of background noise, inflexible but equipped with probably the best rock sound in history! Decide for yourself.

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Additional Informations:


1. **Ampeg B-15 "Portaflex"**:
   - **Inventors**: Everett Hull and Stanley Michaels
   - **Notable Features**: The Ampeg B-15 "Portaflex," introduced in the late 1950s, was a groundbreaking innovation in amplifier design. Its most distinctive feature was the flip-top design, allowing for easy transport and setup. This amplifier used all-tube technology, with a single 12-inch speaker and a 30-watt power output. The B-15 produced a warm, smooth, and articulate tone, often described as "tubey." Its tone was characterized by a rich midrange, making it a favorite among jazz and Motown bassists. The amp's simplicity and reliability made it a studio staple, contributing to its legendary status.

2. **Ampeg SVT (Super Vacuum Tube)**:
   - **Inventors**: Developed by Bill Hughes, Dennis Kager, and Mike Matthews
   - **Notable Features**: Introduced in 1969, the Ampeg SVT is an iconic amplifier that set new standards for bass amplification. With a massive 300-watt all-tube power section and an eight 10-inch speaker cabinet, it became known for its unparalleled power and projection. The SVT's signature sound is characterized by a deep and punchy low end, a rich harmonic texture, and a crisp, cutting presence. Its ability to deliver clean, powerful bass tones even at high volumes made it a go-to choice for rock and heavy music genres.

3. **Ampeg V-4B**:
   - **Inventors**: Introduced by Ampeg's engineering team in the early 1970s
   - **Notable Features**: The Ampeg V-4B is a classic all-tube bass amplifier renowned for its vintage warmth and versatility. With a 100-watt output and a flexible four-band EQ, it offers a wide range of tonal options. Its clean tones are characterized by a smooth midrange and a defined low end, while pushing the gain yields a creamy, harmonically rich overdrive. This versatility has made it a favorite among bassists and guitarists seeking that classic Ampeg tube tone.

4. **Ampeg Heritage Series**:
   - **Inventors**: Developed by Ampeg's modern engineering team
   - **Notable Features**: The Ampeg Heritage Series amplifiers represent a fusion of vintage aesthetics and modern technology. These amps are meticulously designed to capture the essence of Ampeg's legendary sound while incorporating modern improvements in reliability and performance. The Heritage Series offers a wide tonal palette, including the classic Ampeg warmth, but with added flexibility, making them suitable for a variety of playing styles and musical genres. These amplifiers continue to honor Ampeg's rich legacy while meeting the demands of today's musicians.

5. **Ampeg BA Series**:
   - **Inventors**: Designed by Ampeg's modern engineering team
   - **Notable Features**: The Ampeg BA Series includes a range of compact and versatile bass amplifiers designed for practice, rehearsal, and smaller gigs. These amplifiers feature built-in EQ, effects loops, headphone jacks, and other convenient features. Their tonal characteristics are known for clarity, punch, and articulation, making them suitable for bassists of all skill levels and musical genres.

6. **Ampeg Classic Series**:
   - **Inventors**: Introduced as part of Ampeg's commitment to classic tone
   - **Notable Features**: The Ampeg Classic Series amplifiers aim to capture the vintage Ampeg sound while incorporating modern enhancements. These amps offer reduced noise, enhanced reliability, and expanded tonal flexibility. The Classic Series pays homage to Ampeg's rich heritage while ensuring that these amplifiers meet the demands of today's discerning musicians.

7. **Ampeg Micro-VR**:
   - **Inventors**: Designed by Ampeg's modern engineering team
   - **Notable Features**: The Ampeg Micro-VR is a compact and lightweight amplifier head that is often paired with the SVT-210AV cabinet. Despite its size, it packs a punch, offering classic Ampeg tone at lower wattage levels. This portability makes it ideal for smaller venues and recording situations where convenience and vintage sound are desired.

8. **Ampeg Rocket Series**:
   - **Inventors**: Engineered by modern Ampeg designers
   - **Notable Features**: The Ampeg Rocket Series amplifiers combine vintage aesthetics with modern functionality, catering primarily to guitarists. These amplifiers are known for their clean and warm tones, responsive controls, and versatility. While they may not be exclusively for bassists, they offer a taste of Ampeg's classic sound for guitarists.

These detailed insights into various Ampeg amplifier models, their inventors or development teams, and their tonal characteristics showcase the depth and diversity of Ampeg's legacy in the world of amplification. Each amplifier represents a unique chapter in Ampeg's history, contributing to the brand's enduring reputation for delivering exceptional tone and innovation.