Ampeg

Ampeg
Company type	Subsidiary
Industry	Musical instruments, amplification equipment
Founded	1946 in Linden, New Jersey, United States
Founder	Everett Hull, Stanley Michaels
Headquarters	United States
Area served	Worldwide
Key people	Everett Hull (founder), Jess Oliver (key engineer)
Products	Bass amplifiers, guitar amplifiers, pickups, double basses, bass guitars, electric guitars
Owner	Yamaha Guitar Group

Ampeg—a name derived from "amplified peg"—is renowned primarily for producing bass amplifiers. Established in 1946 in Linden, New Jersey by Everett Hull and Stanley Michaels under the original name "Michael-Hull Electronic Labs," Ampeg is currently a subsidiary of the Yamaha Guitar Group. Although the company is best known for its bass amplification equipment, it has also manufactured guitar amplifiers, pickups, and various instruments including double basses, bass guitars, and electric guitars.

Initial phase (1946–1959)

Everett Hull, a bassist and pianist from Wisconsin who performed with bandleader Lawrence Welk, developed a pickup designed to improve the sound amplification of upright basses. His innovation involved placing a transducer on the soundpost inside the instrument. This invention inspired his wife Gertrude to coin the term "Ampeg," an abbreviation for "amplified peg." Hull secured a patent for this sound amplification device in 1947 after filing in 1946. Following a relocation to New Jersey, Hull teamed up with electrical engineer Stanley Michael, who was marketing his own bass amplifier at the time. Together, they founded Michael-Hull Electronic Labs in Newark to promote their products. After Michael's departure in 1948, Hull moved operations to Manhattan in 1949 and rebranded the company as "The Ampeg Bassamp Company."

Ampeg quickly gained support from notable bass players such as Chubby Jackson, Johnny Frigo, and Eddie Safranski, using celebrity endorsements and royalty deals to drive sales growth. The company’s proximity to Carnegie Hall and NBC Studios facilitated strong connections within New York’s jazz community, attracting musicians like Oscar Pettiford and Joe Comfort.

In 1955, electrician and musician Jess Oliver joined Ampeg after showcasing a pickup that was simple to install. By 1956, the company adopted the name "The Ampeg Company," later incorporating as "The Ampeg Company, Inc." in 1959 with Everett Hull serving as President, Gertrude Hull as Secretary, and Oliver as Vice President.

Expansion challenges and market shifts (1960–1967)

In 1960, Ampeg introduced the B-15 bass combo amplifier featuring an innovative flip-top design patented by Jess Oliver. This model became the flagship of the Portaflex lineup and gained popularity among session musicians including James Jamerson and Chuck Rainey. The B-15 stands as one of the most extensively recorded bass amplifiers ever produced. Its design evolved through multiple versions such as the B-15N (1961) and B-15NF (1965), which incorporated improvements like solid-state rectifiers and printed circuit boards. By 1963, Portaflex amplifiers represented 44% of Ampeg’s total amplifier sales.

In 1962, Ampeg broadened its product range with the Baby Bass, a compact electric upright bass inspired by the Zorko bass design acquired from the Dopera brothers and equipped with an Oliver-designed patented pickup. That same year, production expanded significantly with a move to an 8,000-square-foot manufacturing facility in Linden, New Jersey, tripling output capacity. To address financial and production demands, Ampeg went public in 1963. By 1964, employee numbers had risen to 100, prompting relocation to a larger nearby plant.

As rock music gained momentum during this period, bassists increasingly preferred electric bass guitars over upright models. Despite this trend, founder Bill Hull remained focused on serving classical, jazz, and country musicians rather than targeting rock players—a stance that allowed competitors such as Fender to capture significant market share. Throughout the 1960s, Ampeg amplifiers were designed to deliver "clean, undistorted sound," with Hull expressing that the company would "never make anything for rock 'n' roll."

By October 1966, Ampeg employed around 200 people working in a 40,000-square-foot facility capable of producing $350,000 worth of equipment monthly; however, it was burdened with $3.5 million in backorders. Facing operational difficulties and internal disputes—particularly with Oliver who resigned that year—Hull began exploring potential buyers to secure the company's future stability.

Ampeg's Expansion into the Rock Sector (1967―1970)

In September 1967, Ampeg became part of Unimusic Inc. following a majority stake acquisition by an investor consortium. Unimusic sought to leverage the fragmented market for music equipment, akin to industry players like CBS—which owned Fender and Rhodes—and Norlin, proprietor of Gibson, Lowrey, and Moog. Although founder Hull initially stayed on as President, he resigned in October 1968 due to disagreements with Unimusic management. Under new leadership, Ampeg introduced a revamped logo and concentrated on penetrating the rock segment through regional offices located in Chicago, Nashville, and Hollywood.

Ampeg’s lead engineer Bill Hughes and Roger Cox, collaborating with consultant Dan Armstrong, engineered a high-powered bass amplifier. The Rolling Stones, encountering difficulties with their UK Hiwatt amps during rehearsals for their 1969 Hyde Park concert, utilized five prototype Ampeg amplifier heads featuring a 14-tube configuration delivering 300 watts—substantially more powerful than most tube amps at the time. The band toured with these amplifiers, prompting Ampeg to debut the SVT model at the 1969 NAMM Show. This breakthrough product significantly bolstered Ampeg’s presence in the professional rock amplification market.

Building on this achievement, the design team developed the V series in 1970—comprising V-3, V-2, V-4 amplifier heads and VT-22 and VT-40 combo units. These models gained popularity among leading guitarists such as Ron Wood and Keith Richards, who utilized Ampeg SVT gear until switching to Mesa Boogie amplifiers in 1981.

Additionally, Armstrong designed clear plastic guitars and basses for Ampeg; Keith Richards and Bill Wyman played these instruments during tours from 1969 through 1973. However, Armstrong departed from the company in 1971 following disputes regarding compensation for his amplifier designs and chose not to renew manufacturing rights for his creations.

This era was marked by substantial commercial growth for Ampeg driven by strategic product innovation, influential artist endorsements, and expansion into international rock markets.

Ownership Transitions (1971―1985)

In 1971, Ampeg was purchased by Magnavox, a firm recognized for its television sets and hi-fi components that also owned musical instrument manufacturer Selmer. Magnavox dissolved Ampeg’s corporate entity in 1972 and transferred management operations to Selmer-Magnavox offices in Elkhart, Indiana. By 1974, amid economic difficulties and excess production capacity, Magnavox shut down Ampeg’s Linden factory and moved manufacturing to a section within a Magnavox electronics plant. In 1978, Bill Hughes—the designer of the SVT—left the company.

Music Technology, Inc. (MTI), a distributor of Japanese amplifiers and Italian keyboards, acquired Ampeg in 1980 with plans to broaden its product offerings. MTI developed prototypes of SVT and V series amplifiers intended for Japanese production (although the V series never reached release), launched five solid-state models alongside six tube amps, plus effects pedals. Nevertheless, production challenges combined with poor sales led MTI to declare bankruptcy within a few years.

St. Louis Music and LOUD Era (1986―2018)

In 1986, St. Louis Music (SLM) acquired Ampeg’s assets—including brand rights and remaining inventory from MTI. SLM converted leftover V5 amplifier heads into SVT-100 models and initiated an extensive development program aimed at revitalizing the SVT line. Adhering closely to original 1969 designs, they produced 500 Limited Edition SVT-HD amplifiers in 1987. Manufacturing was re-established at SLM’s St. Louis facility where fourteen new guitar and bass amplifier models were introduced alongside the unveiling of the world’s largest bass amplifier at that year’s NAMM Show.

In 2005, LOUD Technologies Inc. purchased St. Louis Music along with its associated brands including Ampeg and Crate. Production at the Yellville, Arkansas plant ceased in 2007 as manufacturing was outsourced to Asia.

Following LOUD Technologies’ acquisition by Transom in May 2018, Yamaha Guitar Group, Inc. acquired ownership of the Ampeg brand from the reorganized LOUD Audio LLC.

Currently, Ampeg is predominantly known for its bass amplification products but also manufactures guitar amplifiers along with reissues of Dan Armstrong guitar and bass models. The company holds six U.S. patents registered under the Ampeg name.

Ampeg Portaflex

During the late 1950s, Jess Oliver, the founder of Ampeg, created a combo amplifier featuring a chassis that could be flipped to safeguard the vacuum tubes housed within the speaker cabinet. Introduced in 1960 as the Portaflex, this bass amplifier became a widely recognized and enduring model throughout the 1960s.

Reverberocket

In 1961, Ampeg was among the first to integrate built-in reverberation into amplifiers with the release of the Reverberocket, arriving nearly two years before rivals such as Fender introduced similar features like the Vibroverb. Although founder Hull was initially doubtful about rock and roll and distortion effects, the Reverberocket’s 6V6 power tubes produced a unique sound that gained popularity among rock musicians.

Super Valve Technology

To meet increasing demands for more powerful amplification suitable for large concert settings, Ampeg’s Chief Engineer Bill Hughes developed the Super Valve Technology (SVT) amplifier in 1969. Weighing approximately 85 pounds and delivering 300 watts RMS output, the Ampeg SVT surpassed other bass amplifiers of its era in performance. This model established itself as an industry standard throughout the 1970s and continues to be a cornerstone product for Ampeg. The SVT-VR (Vintage Reissue) closely mirrors the original design, preserving its significant presence in today’s market.

Recent amplifiers (after 1990s)

In the mid-1990s, SLM launched several guitar amplifiers under the Ampeg name, including the "Diamond Blue Series," which revived classic model names such as Jet and Reverberocket using modernized circuitry. Additionally, the iconic Portaflex bass amplifier was reintroduced with contemporary upgrades aimed at appealing to modern bassists.

Around 2010, Ampeg unveiled the GVT series—a collection of tube amplifiers produced in South Korea that incorporate the Baxandall tone circuit. This line reflects the company’s approach of combining vintage characteristics with current technological advancements.

Instruments and accessories

Ampeg also offered a range of distinctive instruments designed to complement their amplifier lineup.

Baby Bass

Introduced around 1962, the Baby Bass was an electric upright bass featuring a full-size wooden neck paired with a cello-sized Uvex plastic body. Originally acquired from Zorko and redesigned by Jess Oliver, it was manufactured at Ampeg’s facility in Linden, New Jersey. Remaining on Ampeg’s price list until approximately 1970, it found particular favor among Latin and salsa musicians.

Guitars by Burns

In the early 1960s, guitars and basses bearing the Ampeg brand were produced by Burns of London. Due to high import tariffs, these instruments struggled to compete with Fender and Gibson models in terms of price. The partnership ended following Baldwin’s acquisition of Burns in 1965.

Horizontal Bass and Devil Bass

Between 1966 and 1969, Ampeg launched the "Horizontal Basses," long-scale fretted and fretless models designed by Dennis Kager and considered among the earliest production fretless electric basses. Alongside these was the "Devil Bass," which featured distinctive horn-shaped body contours but shared identical internal electronics. Initially equipped with transducer pickups, these models transitioned to traditional magnetic pickups around 1968. Additionally, short-scale fretted and fretless basses fitted with magnetic pickups were part of this product range.

Dan Armstrong Transparent Models

In 1969, the Horizontal Basses were succeeded by Dan Armstrong’s innovative "transparent" guitars and basses, characterized by bodies sculpted from clear acrylic plastic. These instruments were noted for their extended sustain but had considerable weight. They incorporated slide-in pickups that users could easily swap, while the short-scale bass variants utilized stacked coil pickups paired with a pan pot to offer diverse tonal options. Production of these models ended in 1971 following Armstrong’s exit from the company.

Stud Series

During the mid-1970s, Ampeg introduced a collection of guitars and basses produced in Japan under the "Stud" name. This lineup included guitars such as the Stud, Heavy Stud, and Super Stud, along with basses named the Big Stud and Little Stud. These instruments were modeled after popular Fender and Gibson designs, though some exhibited inconsistent headstock designs. The build quality ranged widely, from plywood construction on the Little Stud to more refined features like gold-plated hardware found on the Super Stud.

Hagström Partnership

Following Ampeg’s acquisition by Magnavox in 1971, the company established a distribution agreement with Swedish guitar manufacturer Hagström. This collaboration culminated in the 1976 launch of the Swede Patch 2000, a pioneering guitar-synthesizer hybrid that employed string contact as electrical switches. This system required Ampeg Patch 2000 pedals along with an external synthesizer unit such as the Steiner-Parker Microcon.

Effects Pedals and Accessories

Ampeg broadened its product range to include effects pedals, starting with standalone reverb units in the 1960s. The 1969 Scrambler distortion pedal was among these, later reissued in 2005 alongside the Sub-Blaster octaver. The mid-1970s saw the introduction of the Phazzer phaser pedal. In the mid-1980s, a series of nine stompboxes manufactured in Japan further expanded their offerings.

In addition to pedals, Ampeg produced various accessories including protective covers, picks, strings, straps, polish, and practice amplifiers such as the Sound Cube and Buster. Presently, Ampeg’s accessory line focuses on branded covers, apparel, and selected gear.

Post-1990s Instrument Releases

Starting in the mid-1990s, Ampeg revived several classic instruments like the Baby Bass, Horizontal Bass, and "See-Through" models. Alongside these reissues, they also introduced wooden-bodied versions inspired by the original See-Through design.

External links

Ampeg.com ― Official Site