History · American-style

The Ampeg Portaflex line

Ampeg's answer to the problem of carrying a bass rig: a combo whose chassis hangs upside-down from the lid, so the amplifier folds away inside its own cabinet for the walk to the gig. The Portaflex arrived in 1960 as the 25-watt B-15 and stayed in production, revision by revision, for two decades. Its circuit is unusually consistent across the first ten years — two identical channels, each a pair of high-mu octal triode stages around a passive bass and treble network, feeding one more octal twin triode that both drives and inverts, into a push-pull pair of American beam power tubes with negative feedback taken from the speaker winding. The factory drawings list the same six bottles for the B-15N, B-15NC and B-15NF: three 6SL7 twin triodes, two 6L6GC beam power tubes and a 5AR4 rectifier. The line's later chapters swap that octal front end for a noval one and the rectifier tube for silicon.

1960–2000 7 models 1 documented 6 history-tier
Era timeline — each bar spans a model's production years; the chain from top to bottom is the line's succession.
Documented circuit — links to its page History-tier — placed & sourced, circuit not yet drawn Succession within the line

The models

DesignationYearsWattsOutput stageKey changeCircuit
B-15 1960–1961 25 W push-pull The first Portaflex: a 25-watt two-channel bass combo built around the flip-top cabinet the line is remembered for, the chassis inverted in the lid so the whole amplifier stows inside the box it plays through. No factory drawing for this first model has been read here, so no valve complement is claimed for it. history entry
B-15N 1961–1964 25 W push-pull 2×6L6GC The model that replaced the original B-15 in 1961 and gave the line its name. Ampeg's own drawing for it prints the complement plainly in the title block — three 6SL7 twin triodes, two 6L6GC beam power tubes and a 5AR4 rectifier — and the circuit it draws is two identical channels of two 6SL7 stages each, a third 6SL7 driving the output pair, fixed bias from a separate negative supply, and negative feedback taken from the speaker winding back into the driver. The valve complement above is read from that drawing, which carries revision C of 22 January 1974: it is the B-15N circuit as Ampeg last issued it, not necessarily as the first 1961 chassis left the bench. B15N circuit ↗
B-15NB 1962–1964 25 W push-pull The revision that dropped the rectifier tube for a solid-state one, and the point at which the blue checked covering arrives. No factory drawing for this revision has been read here, so its valve complement is not claimed. history entry
B-15NC 1964–1965 25 W push-pull 2×6L6GC The rectifier tube comes back and the hand-wired board gives way to a printed one. Ampeg drew the B-15NC and its 12-inch sister the B-12NC on a single sheet, and the two share a circuit: the same three 6SL7s, the same 6L6GC pair on an OT-208 output transformer, the same 5AR4. Two issues of that sheet were published a few months apart, in November 1964 and March 1965. history entry
B-15NF 1965–1971 25 W push-pull 2×6L6GC The longest-running of the tube Portaflexes. The output pair moves to fixed bias — the drawing prints a -30 V bias line and a 100 kΩ 2 W feed where the NC had a shared cathode resistor — and the cabinet goes to a single baffle. The valve complement does not change: the same three 6SL7s, 6L6GC pair and 5AR4, now on the larger OT-214 output transformer. history entry
B-15S 1971–1977 push-pull 2×7027A The break with the octal front end. Every 6SL7 is gone: the two channels run on 12AX7s, the driver on a 12DW7 and a 12AU7, and the output pair is the higher-dissipation 7027A on a much higher rail — the drawing annotates 575 V at the anodes against the B-15N's 450 V. The rectifier tube is gone too, replaced by a silicon bridge, and the tone controls sit on a power-amplifier printed board with a four-position rotary voicing switch ahead of them. history entry
B-15 (reissue) 1997–2000 100 W push-pull 4×6L6 The Portaflex name returns under St. Louis Music, on a drawing that has almost nothing to do with the 1960s amplifier: a solid-state front end around dual op-amps feeding four output bottles, a switchable 100 W / 50 W output stage, balanced line out with a ground-lift switch and a five-band voicing section. It is a Portaflex by cabinet and by name. history entry

A circuit ↗ badge links a fully documented circuit — redrawn schematic, verified operating point, parts list. A history entry is placed and sourced here but its circuit isn't drawn yet; contributions are welcome.

Dating & notes

Every valve complement above that is claimed at all is read from an Ampeg title block, because the Portaflex is one of the lines where the factory wrote the complement into the drawing rather than leaving it to the tube chart. That makes one widely repeated claim easy to check and easy to correct: no Portaflex drawing in Ampeg's own published schematic library specifies 7591 output tubes. The B-15N, B-15NC and B-15NF sheets all print 6L6GC, and the B-15S prints 7027A. The 7591 belongs to Ampeg's guitar amplifiers of the same years, not to the Portaflex. Two gaps are left open rather than filled. The first B-15 of 1960 and the solid-state-rectifier B-15NB of 1962 have no factory drawing read here, so they carry years and wattage but no valve complement. And the B-15N sheet that does exist is revision C of January 1974 — it documents the circuit as Ampeg last issued it, more than a decade after the model was introduced, so it dates the circuit's final form rather than its first. One circuit from this family is now drawn in the corpus — the B-15N, from the revision-C sheet above — and the reading that unlocked it is worth recording so the rest of the line does not re-walk it. A first attempt stopped at three connections it could not read: where the R28 470 kΩ / R29 510 kΩ midpoint goes, which supply dropper feeds the channel anode loads, and a driver-cathode node whose printed voltages refuse to balance. Re-read at 400 dpi, zoomed to the pixel, the first two are a drafting convention rather than a circuit question. The third stands, and is published as a disputed node. The sheet runs a long horizontal ground bus across the middle of the drawing, and several vertical lines cross it. At working magnification each crossing looks like a junction; at pixel level each is a **hop-over** — the little S-jog the draughtsman used for "crosses, does not connect". The same jog turns up wherever this draughtsman crosses a line: at the channel mixing resistors' crossings of their own tone-board input lines, and at every crossing the driver rail makes on its way down to the supply. Read that way the drawing resolves into three series chains, each spanning the two 6SL7 driver anodes (the sheet prints 235 V on one and 225 V on the other) with a node in the middle:

* R26 120 kΩ and R27 120 kΩ — the driver's two ANODE LOADS, sharing one supply node between them. That node runs down to the foot of R38, a 22 kΩ · 1 W dropper off the 6L6GC screen node; its twin R37 leaves the same screen node for the preamp rail both channels share, and the two never rejoin. * R28 470 kΩ and R29 510 kΩ — a divider across the same two plates, whose midpoint is coupled by C11 0.022 µF to the second grid. That divider is the phase inverter: a self-balancing (floating) paraphase. * R30 270 kΩ and R31 270 kΩ — meeting at the node the sheet labels −50 V. They are the two output-tube GRID RETURNS, which is what the title-block reading above already said they should be: R30 reaches the 6L6GC grid line beyond C13, R31 the other beyond C14, since the two 0.022 µF capacitors break each driver plate from the grid line it drives.

Two things remain open on the B-15N and are published as such on its own page. The driver cathodes contradict themselves on the sheet's own annotations — the printed 3 V and 2.2 V, taken with the 220 Ω and 1 kΩ drawn under them, imply currents no 6SL7 section passes — so both are disputed nodes carrying their arithmetic. And one crossing in the negative-bias supply is not settled, so the −50 V line is driven at the value the sheet prints rather than derived. Everything else solves: eight preamp nodes and the screen node land inside the era's ±20 %. No new tube model was needed for it. The corpus already carries clean-room fits for all three bottles — the 6SL7 anchored on the RCA 6SL7GT Class A1 point (Va=250 V, Vg=−2 V → Ia=2.3 mA, gm=1600 µmho, µ=70), the 6L6GC on the RCA 6L6-GC sheet, and the 5AR4 under its other name, the GZ34. Dates are as tight as their evidence allows and no tighter. Introduction years come from the published chronology; the closing years of the B-15NF and B-15S rows are bracketed by the drawings read here — the B-15S sheet is dated March 1971, which puts a ceiling on the NF — rather than pinned by a dated source of their own. One row — the B-15N — links a drawn circuit; every other row is history-tier.

Sources

Every model above carries its own citations in the corpus data file. Browse the full source list for this line: history/families/ampeg-portaflex.yaml.