VTypeV4

The access for the combos is usually on top but the screws are covered by little plastic inserts you'll need to pop out first - my 715 and 4808 were like this.. With these out the amp should simply slide out but be sure to disconnect the speaker connection too.

Ha, you could knock holes in a wall with it! It was as perceivably loud as the V-Type 4808 (300w / 4x8") I'd had previously. My V4 is a monster..

Ha, yes indeed! Of the 15" combo models, I've owned two and both were great. First was a late ('03 according to the serial) 715 GP7 with the illuminscent panel and black tolex same as the later V-Type and Commando ranges. I paid very little for it as a friend was no longer using it - he'd bought a bigger Laney rig. I only moved it on as another mate was setting a rehearsal place up and was desperate for a decent bass amp. He still has it and it apparently is still going well although I recall he fitted it with wheels. Secondly was a Twin Valve which are quite rare (see what I did there?) and horribly heavy but sound fantastic. They came with the Series 6 GP7 pre-amp but with valve stage as well as an all valve output stage (2x 6550 making a claimed 115w) which is MUCH louder than the numbers suggest. I did a full review of this in the reviews section. I only moved this on as I'd mistakenly sold the V4 (Trace, not Ampeg) few years before and the opportunity came around to get it back so needed the pennies.

I'm a little sketchy on the really early stuff but MK5 was mid eighties (maybe '86) to about '89, Series 6 was the next generation from '89 till '93 then these were superseded by SM and SMX from '94 with an upgrade of the SM to SMC (with the dual band compressor albeit single knobbed) in '97 and a change from grey panel / grey tolex to black panel / green carpet - SMX models received the cosmetic change but were otherwise unchanged except 250w models were now claimed 300w and the 350w model was now 400w. Last generation Gibson models were the last of the 'old guard' produced from '99 until about '02 - 150 and 300w models had a new design power stage, electro-illuminescent panel plus the old 400w was upped to 500w plus the crazy stereo / triamp 1000w replaced the 600w SMX. Both 7 band and 12 band pre-amps recieved tweaks most notably the 12 band with an added valve drive and enhancer facilities. Production ceased in around '03 when Gibson closed the brand and factory. Peavey production started in 2005. Yours looks to be a lesser spotted model as most series 6 were the smaller box design and all SM were larger off-set suggesting a very late Series 6 from about '92 just before they were replaced. Sorry for the essay! Ha!

I started with a Boxer 30 (1x10 - 30w) back in '98 and I've been through the giant stack of the 12-band 600w head, 410 and 115 and an all valve V4 MK2 with matching 810 and pretty much everything in-between. I too needed a crane! Most have the smaller (and earlier) power stages up to 200w - I think most of the series 6 ('89 to '93 ish) seven band models were 100w and the 12 band being the 200 but there was likely options for both. Box volume was lower which may have affected low end response a little but I never really had issues with my Twin Valve combo which was the smaller variation and was built in 1990. Yours is the pre-cursor (I'd have said about '92) to the later (post '93) combos (and 1153 cab although it's a touch deeper) with the off set driver and front loaded ports which came as 200, 250 / 280 and 300w models featuring the SM, SMC, SMX and GP12X pre-amp stages. Hope that helps.

I am probably one of the above mentioned 'Trace Elliot Lifers' as they've always seemed to just fit whatever I've been doing. I've had a couple of different amps too - Hiwatt which I just didn't get on with, an all valve Ashton BV300H which was great and most recently a Fender Bassman 135 which is super - but having owned most Trace models from the '90s onwards, they always do what I need. Glad you found a solution.

I'd happily take the Fender flyers if they're still to be had?

I would occasionally use a '78 P-Bass (a 'real' one just for clarity) when I used to play in a ten-piece motown group. It didn't belong to me, it was owned by the manager of the group although I kept it good with new strings, a good setup etc. I didn't use it for every show, probably 1 in 4 or so as I've never been a P-Bass person but it 'fit' most of the music pretty well. It sounded great and played well although it's build quality wasn't outstanding. There was lots of vintage charm about it as it had a few knocks and marks plus having been used before the smoking ban, had a distinct yellowing of both the body and neck plus it had chromed pick-up and bridge covers - very retro cool. To echo some of the previous comments, it was good example although it wasn't a good instrument because it was a vintage, it was good because it used quality parts and was adequately put together. I do however believe some of the newer US and Japanese Fenders I've owned were much better built and finished despite not carrying the 'vintage charm' thing with them. My current '06 Squier VM Jazz is also an example of this - it's the best passive Jazz I've owned and I appreciate that 'best' is subjective however, I'd happily pitch it against far more pricey and/or vintage instruments. Some may argue it's not even a 'real' one! In a nut shell my take on it is that if it's old it may (notice I used 'may', not 'is') be cool but that doesn't strictly make it 'better' and certainly doesn't make it worth what some buyers and collectors ask for these instruments. Prices for pre-CBS Fenders are massive and even CBS era examples - such as the P-Bass I used to play - are worth a lot more than they were 10 - 15 years ago.

^ Nice!

Ha, yeah I like that too.

I wouldn't worry - if it didn't distort or shut down then I'd assume it was operating within design parameters.

I got a vintage Fender double fifteen to go with my Bassman 135.. Santa (and the Mrs) have been good to me this year too..

I know I've posted this pic elsewhere but it's equally at home here too so as I'm still super pumped about it, then here it is again.. Matching 135 grill by VTypeV4, on Flickr Bassman 135 and matching JBL loaded ported double-fifteen.. Fat!!

I've followed a few of the 'Elf' threads and it seems pretty much anyone that has tried one appears to be reasonably happy with it. I've not yet had chance myself so couldn't say but I'm very pleased that the Trace Elliot (in whatever guise) brand lives again and is doing something modern and a bit crazy. As mentioned elsewhere, I'm sure a 'mini SMX' would go down a storm also..

Matching 135 grill by VTypeV4, on Flickr It's now pretty much complete! Sounds as good as it looks too. Awesome!

Halfway 135 by VTypeV4, on Flickr Fender cab part way through a partial restoration - JBL D/K installed today. Tested and sound lovely!

Top fella! Purchased his old Fender 2x15 for a very reasonable cost. The cab was better than described and he was happy to oblige with the courier I organized. A true credit to this community - why aren't all ebay transactions like this!? Matt

On a slightly different topic, I did the job I always seem to wind up doing for Bullet Sound Co at The Victoria Hall on behalf on St Joseph's college.. St Jo 17 by VTypeV4, on Flickr St Jo 17 by VTypeV4, on Flickr Yamaha LS9, Lab Gruppen / Crown and Nexo boxes - a very different PA than we've used on previous years but reasonably equal in terms of power and quality. Personally, I still prefer the EAW boxes but that's just my preference. It's been a while since I used an LS9 but their lineage and relation to my beloved 02Rs made most navigating really straight forward although I would have rather spent a bit more time building a more personal template. The show was excellent and went without issue (as ever) and shows there maybe hope for the next generation of musicians yet.

Wow!

Valves the size of big coffee jars requiring kV of HT are really something quite magical - even the most hardcore 'lightweight / class D' stalwarts on the forum can surely appreciate the beauty of these thing however impractical they may be. I love the glow of my 6L6 and KT88 / 6550 amps!

Awesome!!

Personally I think it's the big Trace VTypes but I'm biased really! http://www.chambonino.com/construct.html And this is just nuts.. http://www.chambonino.com/construct/const9.html

The O/E Celestion (it'll be a C15T or a C15H) isn't that heavy anyways - they've only got a moderate sized magnet and a pressed frame as they're both likely to be based on the old K series from the '90s. Quite sweet sounding drivers in my opinion although they're surpassed with todays technology. I can't recommend a suitable driver as I've never crunched the numbers or needed to load something newer or lighter into an 1153 / EV 606 although give or take, if it's ok in a 606, it'll be ok in a 1153 / 715 / 7215 Trace box..

Best of luck with them! I've used the Tung Sol 6550s in a few different amps and they're a great tube so see no reason why the 7581s shouldn't be. Thanks for the compliment, the 135 is proper cool and as I've said elsewhere, it's one of the few bass amps I've owned that isn't a Trace Elliot.

Just as a follow up, I've had a few hours on the valves today albeit still not in anger although I do think the amp has less background noise.. I haven't got a lot of experience regarding 6L6 powered amplifiers as most that I've got / had have mainly been either EL34 or 6550 / KT88 based. This might make any meaningful comparisons a little tricky especially as the previous valves in the Fender were two different pairs - one were what I assume to be the original Fender branded Sylvania 'Made in the USA' valves. Might keep them as spares or might let them go as they're quite strong on the second hand market.