Ampeg GVT15-112

Ampeg GVT15-112

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GVT15-112, Tube Combo Guitar Amp from Ampeg in the GVT series.

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Ampeg GVT15-112 tech. sheet

  • Manufacturer: Ampeg
  • Model: GVT15-112
  • Series: GVT
  • Category: Tube Combo Guitar Amps
  • Added in our database on: 09/20/2011

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Ampeg GVT15-112 user reviews

Average Score:4.5( 4.5/5 based on 2 reviews )
 1 user review50 %
 1 user review50 %

BigB's review (This content has been automatically translated from French)"A future collector?"

Ampeg GVT15-112
- Amp lamps (2x6V6 push-pull power - cathode-biased - 1x12AX7 preamp and 1x12AX7 in inverting) recovery diode
- Switchable power 7W (triode mode) / 15W (pentode mode)
- Single Channel
- Gain settings / EQ 3-band Baxandall / volume / reverb
- Spring reverb and effects loop
- Speaker outputs: 1 x 16 ohm, 2 x 8 ohm and 2 x 4 ohm
- 15mm plywood cab
- HP 12 inch Celestion 70/80
- Connector for switch reverb / loop (footswtich not supplied)


It is therefore a priori a single channel amp not complicated, but Baxandall EQ, quite different from the usual tonestack, takes a bit of time (even a few explanations) for a good grip and make the most of the opportunities of the amp. After it is as simple as possible.
About EQ (very efficient), you need to understand is that:
1. Unlike a standard tonestack, the settings of the three bands affect only slightly on each other (which is a good thing), so up (or down) the mids affect neither low nor acute. In practice it makes the most simple but at first it failed because settings were not the "usual" responses
2. The mids knob is located between the two gain stages of the preamp (the other two bands being after the second floor), which makes it an active adjustements (it is also done as a gain knob but in bands mids only). In fact its operation is as follows: below noon he cut (up to-6dB) in the midbass (around 800Hz), over MIDI it boosts (up to +10 db!) In the medium ( around 2KHz).
In short, the mids knob is the "secret weapon" of the amp, which made for a clean slightly widened (tending towards Fender) a crunch "full mids" Therefore, without affecting other settings. The trick is to use this knob is sought by the crunch or clean.
For the rest nothing to add, this is the standard ... And it sounds good.


To begin with let us be clear (dare I say): although it beautiful crunch, there was a low gain amp, in the tradition of its big brothers 70s. For the doom / djent / brOOtalz, go your way (well, whatever ... see below), at maximum, without pedal, you get a big crunch 70s typed Stones / old ZZ Top etc. - a very nice crunch to Moreover, both more accurate and tense than a Fender or a Vox but more "full" and less aggressive than the old Marshall - but it does not go beyond, and even why we must push power section beyond what is acceptable in the apartment.
Second point, the clean, too specific and chiseled, is neither that of a Fender or that of a Marshall or a Vox that is the signed Ampeg clean, quite right (but not cold) , again with full but tight and well defined bass and treble pretty chiseled.
In both cases, although this amp has a character of its own, we find no error in the sound of the guitar plugged with his qualities and defects (tested with LP, a Tele, a Strat, a Rick, a Verythin Hofner and Epiphone Wilshire RI). It also has a remarkable dynamic and respond well to both nuances of the game that volume knob.
Where it gets interesting is that this amp takes pedals very well gain, whether clean or dirt on a boost adjustment "crunch" (in which case it flies at a fairly massive overdrive) or saturated fat or more fuzz on clean control, and other effects (delay, etc. trem) which is again very clearly distinguishes the specific color. I have not had the opportunity to test with a pedal type "hi-gain preamp" but views the reactions of the beast I think it would work quite well again or very well.
Reverb (driven by two AOP, like all lamps amp in this price range but no offense to purists "all-tube" on this part of the circuit that does not make such a difference) did there either nothing to do with that of a Fender, no sound "splashy surf", but a very "space" reverb, a bit long for my taste but still very nice.
Perspective power is largely sufficient for group play (repeat / small rooms anyway after we transplanted so no worries) and the headroom is sufficient to have a good clean volume group with good gain and EQ. 7W mode (triode) is, as always, less
The only downside in my opinion, the same HP that once roamed sounds very stiff and a bit harsh crunch. I much prefer the result on a 2x12 (closed) greenbacks in a 4x10 (closed) in GL10-35, or 1x12 open Eminence GB12, short on HP typed greenback which gives it a little more mellow.
Last point: this amp sounds more than fine with the original lamps (passable), but for the few tests I've done seems also react sharply lamps used (the virtues of simplicity ...) that either preamp or power. I have hitherto never bothered to invest overmuch in the power tubes (JJ generally making my happiness - and also giving very good results here), but this time I am considering a small investment .


To my delight (well one of my wallet), which however had Ampeg arguments materials guitar amp (you do not know maybe but you've heard on a package of classic 70s rock) has miserably failed its communication on the line amp, which fell below the radar despite all the obvious qualities (whether sound or obviously serious construction). Originally released at about € 600 - and it was worth it - the last examplaires before the end of the production went to just over € 300, which is totally ridiculous.
I use this amp for almost a year, I tested again and in concert with a group oriented 70s hard / stoner and a bunch of covers of rock and soul, and in any case I don ' I had nothing but compliments (other musicians, sound engineers and the public). It's been almost 35 years since I played that left me no time to test a lot of amps, and this little combo is a perfect addition to my A-Wai Custom "Blackbetty" (hand-sewn and custom point to point - yes you can do hi-gain point to point - by the excellent Arnaud Ferraris). For me in its class - simple, portable, versatile but with a strong character, and banking with happiness all gain pedals that I could put him in the face - this amp is close to perfection.
In terms of robustness it is still a bit early to judge, but the construction seems very serious (even that the cab which for once is not agglomerate but plywood, and it shows) and yet mine shows no sign of weakness or dysfunction (I wish I could say the same blues Jr or Classic 30 I cotoyé).

la.boulanderie's review (This content has been automatically translated from French)"To discover"

Ampeg GVT15-112
It is a tube amp for guitar that signed Ampeg brand most famous bassists. main features are:

Switching Power: 15 Watt - 7.5 Watt
1 channel
Pan open back
Preamplifier lamps: 2 x 12AX7
Lamps amplifier: 2 x 6V6GT
1 speaker 12 "Celestion Thomann
3-band EQ
Effects loop
Spring reverb switchable
5 outputs for external speakers on Jack: 16 Ohm, 8 Ohm and 4 Ohm
Dimensions: 485 x 457 x 254mm
Weight: approx. 19 kg


This is a very simple to use amp when the principle of tube amps are known. The manual is succinct but the key is there but only in English.


see overall view


To better explain my opinion, it seems to me useful to briefly introduce my career as a guitarist. I practice the electric guitar for 32 years. My first amp was a roland cube 60 and a yamaha 100 watts (copy of the twin reverb but transistor). Therefore not extraordinary guitar amps even if yamaha was not so bad. Then I stopped the live music for the home studio for 20 years. So I lost the habit of playing and hear amps since I played with the simulation models (without amp, pod, AdrenaLinn, guitar rig, ...).
There is a fifteen year I bought a Peavey Classic 30 amp on replay for fun at home. This has not been a success since this amp blew a lot (very annoying at low volumes) that volume was too loud and finally the sound was never really convinced me. More recently I bought a bugera V5 to get back to the amp because the power was adjustable and it was cheap. This little trick has amused me but I wanted to have a real quality amp. I was ready to pay the price this time it. So I started looking for the perfect amp for playing blues rock blues and I'm not against a little jazz or country.
I saw demos of this amp tone king has been my reference to look. I wanted an enclosure 12 for a fuller sound. Rating of the Fender Blues Deluxe could please me but the power is too strong to play at home. The Bugera V22 has me a little worried about reliability. Tubes Meister Hughes and Kettner have me much but the 5 watt Combo has no reverb or effects send. The 18 watt combo has reverb but the price begins to rise. The Laney Lionheart look nice but critical to the reliability made me hesitate and I was afraid it may be too powerful to play at home. I looked at many other brands but it still lacked something too powerful or too typical metal or no reverb and / or no insert effect, or too big, ...

Then I saw this Ampeg Thomann. It had all the features I was looking for an amazing price and 325 Euros. The brand is still a reference in the world of amps so this is reassuring. Videos and reviews on the net were pretty good. I told myself so let's go for the price there is less risk.

After a day of testing my impression is very very positive. I started the test with a half case mounted Seymour Duncan Jazz and a classic Stratocaster 50 (mexico) and my SR Les Paul type guitar and finally a copy of Es 335 mounted with Gibson pickups (57 and 57 +) .

The result is very convincing. The personalities of guitars are perfectly met. All pickups sound great on this amp. It highlights the characteristics of each scratch. The sound of the lamps is quite naturally compressed which gives a lot of banging in all its engardant a certain roundness. I would say a kind of encounter between the fender and vox sound with a little plex too.
The clean sound is really very good. With the gain at noon and volume at noon on crunch nicely if we support the notes. If you want the most consistent crunch you have to push the gain background. This is not an amp made for metal even if it accepts pedals very well.

The three-band EQ is very effective and can vary greatly sound palette. With acute at 3 am and 9 am mediums is approached fender and is ideal for country, funk and other music magnet of christalines attacks. The medium position interacts with other EQ settings and it really expands the registry.

HP is a Celestion. It offers a truly perfect answer for me.

The sound is clean, no breath, no annoying buzz with simple micrs winding.

The least because there are few, it is the reverb is usable but average, the amp is no bag and no footswitch. The look is pretty east germany 70s but it may appeal.

Attention also to the power even as it sends 7 watt already strong. In a house is good but a little apart this may cause problems with the neighbors. In contrast the 15 watt is enough for repet see a small room.

To me this amp, with all these features (reverb, effect send, footswitch input can cut and reverb effect devpuissance attenuator, 3-band EQ, Standby) at this price point and with this sound is exceptional. I really invite the curious to discover this game. There is a model w 5 months still expensive.

If reliability is the rendezvous, I will keep this amp even years.

Ampeg GVT15-112 news

[NAMM] Ampeg GVT Series

[NAMM] Ampeg GVT Series

Published on 01/08/12
Ampeg's GVT Series tube guitar amplifiers will make their first appearance at Winter NAMM 2012.

Ampeg GVT15-112 images

  • Ampeg GVT15-112
  • Ampeg GVT15-112
  • Ampeg GVT15-112
  • Ampeg GVT15-112

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Other names: gvt15 112, gvt15112, gvt 15 112

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