Even though Ampeg has made amplifiers based on modern, lightweight technology for years, to many of us the brand represents the gold standard of vintage bass tone. When an engineer or artist asks you to provide an Ampeg sound in the studio or on a gig, they usually want the unmistakable low-mid thump of a B-15 or the unparalleled sub-lows and top-end grit of a ’70s era SVT with tubes that have been cooking for a few hours. So, whenever I try any new product from Ampeg, those sound standards are at the fore of my imagination. The 200-watt Rocket Bass RB-115, from Ampeg’s new Rocket line of combos, captures the essence of many of those foundational Ampeg tones in an amp that’s easy on the wallet, easy to use, and even surprisingly easy to carry.
New Kid in Town, Familiar Face
A classic, straightforward SVT-style control layout makes up most of the RB-115’s top panel—a welcome and reassuring sight. It includes knobs for volume, bass, midrange, and treble. There are also push buttons for the ultra hi and ultra lo boost/cut functions that take the place of an SVT’s rocker switches. The 1/8" jacks for headphones and aux-in are located immediately adjacent to this section. On the opposite side of the panel are controls for the SGT overdrive. This section includes an on/off switch and rotary controls for grit and level. The Rocket RB-115 features two separate instrument inputs. One offers a -15db pad for active basses. The rear section of the RB-115 features a group of ¼" inputs: effects send/return, external speaker out, and a footswitch in to engage the SGT distortion circuit. A DI with a ground lift switch rounds out the features on the back panel. The checkered pattern vinyl and silver cloth grille, by the way, are nice nods to tradition and make the combo look a lot like a B-15 at a glance. At 34 pounds, the RB-115 is relatively light, too.
- Fingerstyle on neck pickup
- Spector P/J with pick
- Nordstrand Acinonyx with overdrive
Straight Into Battle
Immediately after unpacking the Rocket RB-115, I brought it to a low-volume, in-ear-monitored corporate gig, and a few of the other musicians offered compliments on the tone coming via the Ampeg’s DI to their in-ears. Because there’s no tweeter on the RB-115, (a tweeter is available in the RB-210), the speaker output is heavy on low end. Not surprisingly, the DI signal sounds bright by comparison. But in spite of that brightness, my bass never sounded too modern or harsh when listening to the DI signal only—even when playing slap-style with fresh strings.
While the combo might be visually reminiscent of a B-15, the preamp sounds more like a miniature version of a full SVT stack.
Looks Like One, Sounds Like the Other
Back at home, playing through the 15" speaker, the Ampeg sounded warm and massive in the low end with a slightly scooped midrange and very SVT-like high end that emphasizes warmth and personality rather than definition—in the very best way. This is the natural sound of this amp with all the controls at 12 o’clock. And while the combo might be visually reminiscent of a B-15, the preamp sounds more like a miniature version of a full SVT stack—particularly with the ’60s-style passive Lollar neck pickup in a Shabat Tiger 5 J-style bass.
As a longtime fan of the ultra lo boost on older SVT models, I longed to see how the RB-115 handled the switch to hard rock tones, so I grabbed a pick and a Spector Euro LX 4 with active EMG pickups. For starters, the -15db input did its job beautifully, even when I ran the Spector’s onboard EQ at full boost. Very impressive! To achieve more aggressive pick tone, I engaged the ultra hi and ultra lo switches and added midrange from the EQ section to offset the heavy scoop generated by the preset filters. No matter how aggressively I played, the Eminence driver delivered clear highs and lows without breaking a sweat. Recording this tone with a microphone in the center of the cone and no DI, the speaker sound felt better suited for aggressive pick playing than most VST amp simulators I use. Even the very clean, super-articulate EMG pickups responded like they were going through a tube circuit of some kind, because the amp naturally generates a slightly spongey compression—a quality I always appreciate when playing with a pick.
The SGT distortion circuit, which certainly isn’t a feature on a vintage Ampeg, felt less familiar. Playing just a few notes suggested a raw indie rock or garage tonality, so I switched to a Goya-style Nordstrand Acinonyx short scale with flatwounds. It turned out to be a great pairing. The SGT circuit offers midrange-heavy distortion with hints of bright fuzz at times. For players looking for a more scooped Darkglass-type distortion, the SGT might not be a suitable replacement. But it’s great for more old-school sounds.
The Verdict
With its accessible price, manageable size, easy-to-understand design, and modest but classic array of tones, the Ampeg Rocket RB-115 would be an excellent investment for a player looking for their first true professional combo, or somebody moving on to slightly larger shows and bigger sounds. This is also a combo that a seasoned professional could take to a gig with confidence that many essential, fundamental Ampeg tones are there and easy to access. The Ampeg Rocket RB-115 is a great example of how to properly balance tradition and a modern touch—a valuable skill for amp manufacturers and players alike.
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Gibson originally launched the EB-6 model with the intention of serving consumers looking for a “tic-tac” bass sound.
The Gibson EB-6 was announced in 1959 and came into the world in 1960, not with a dual-horn body but with that of an elegant ES-335. They looked stately, with a thin, semi-hollow body, f-holes, and a sunburst finish. Our pick for this Vintage Vault column is one such first-year model, in about as original condition as you’re able to find today. “Why?” you may be asking. Well, read on....
When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye. The real competition were the Danelectro 6-string basses that seemed to have popped up out of nowhere and were suddenly being used on lots of hit records by the likes of Elvis, Patsy Cline, and other household names. Danos like the UB-2 (introduced in ’56), the Longhorn 4623 (’58), and the Shorthorn 3612 (’58) were the earliest attempts any company made at a 6-string bass in this style: not quite a standard electric bass, not quite a guitar, nor, for that matter, quite like a baritone guitar.
The only change this vintage EB-6 features is a replacement set of Kluson tuners.
Photo by Ken Lapworth
Gibson, Fender, and others during this era would in fact call these basses “baritone guitars,” to add to our confusion today. But these vintage “baritones” were all tuned one octave below a standard guitar, with scale lengths around 30", while most modern baritones are tuned B-to-B or A-to-A and have scale lengths between 26" and 30".)
At the time, those Danelectros were instrumental to what was called the “tic-tac” bass sound of Nashville records produced by Chet Atkins, or the “click-bass” tones made out west by producer Lee Hazlewood. Gibson wanted something for this market, and the EB-6 was born.
“When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye.”
The 30.5" scale 1960 EB-6 has a single humbucking pickup, a volume knob, a tone knob, and a small, push-button “Tone Selector Switch” that engages a treble circuit for an instant tic-tac sound. (Without engaging that switch, you get a bass-heavy tone so deep that cowboy chords will sound like a muddy mess.)
The EB-6, for better or for worse, did not unseat the Danelectros, and a November 1959 price list from Gibson hints at why: The EB-6 retailed for $340, compared to Dano price tags that ranged from $85 to $150. Only a few dozen EB-6 basses were shipped in 1960, and only 67 total are known to have been built before Gibson changed the shape to the SG style in 1962.
Most players who come across an EB-6 today think it was a response to the Fender Bass VI, but the former actually beat the latter to the market by a full year.
Photo by Ken Lapworth
It’s sad that so few were built. Sure, it was a high-end model made to achieve the novelty tic-tac sound of cheaper instruments, but in its full-voiced glory, the EB-6 has a huge potential of tones. It would sound great in our contemporary guitar era where more players are exploring baritone ranges, and where so many people got back into the Bass VI after seeing the Beatles play one in the 2021 documentary, Get Back.
It’s sadder, still, how many original-era EB-6s have been parted out in the decades since. Remember earlier when I wrote that our Vintage Vaultpick was about as original as you could find? That’s because the model’s single humbucker is a PAF, its Kluson tuners are double-line, and its knobs are identical to those on Les Paul ’Bursts. So as people repaired broken ’Bursts, converted other LPs to ’Bursts, or otherwise sought to give other Gibsons a “Golden Era” sound and look ... they often stripped these forgotten EB-6 basses for parts.
This original EB-6 is up for sale now from Reverb seller Emerald City Guitars for a $16,950 asking price at the time of writing. The only thing that isn’t original about it is a replacement set of Kluson tuners, not because its originals were stolen but just to help preserve them. (They will be included in the case.)
With so few surviving 335-style EB-6 basses, Reverb doesn’t have a ton of sales data to compare prices to. Ten years ago, a lucky buyer found a nearly original 1960 EB-6 for about $7,000. But Emerald City’s $16,950 asking price is closer to more recent examples and asking prices.
Sources: Prices on Gibson Instruments, November 1, 1959, Tony Bacon’s “Danelectro’s UB-2 and the Early Days of 6-String Basses” Reverb News article, Gruhn’s Guide to Vintage Guitars, Tom Wheeler’s American Guitars: An Illustrated History, Reverb listings and Price Guide sales data.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmark—including delay time, feedback, and independent rate and depth knobs for the modulation—plus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ’80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.