"Part of the key to the early-’60s R-12-R Reverberocket’s rockability is its pair of 6V6 output tubes. This long-standing Ampeg combo went through several iterations from the late 1950s into the ’70s, and many were made with output tubes that just didn’t want to break up much. We already know, though, that 6V6s give up the goods pretty readily in plenty of other amps, and the rest of the Reverberocket of this era seemed predisposed to go along with it. “That was Everett Hull’s one effort to make an amp a little more Fendery,” Ken told me some years ago, and while it might have helped an Ampeg finally appeal to a more youthful crowd, its playing against type doomed it to an early demise. “You’ve got to keep in mind that Everett Hull hated rock and roll, he hated distortion – even when blues guys would play distortion,” Ken continued. “Amps were not to be distorted. So those R-12-Rs had blue Jensens in them, 6SN7 and 6SL7 octals [preamp tubes], which are always nice, fat-sounding tubes. That amp would be a great indie-rock machine. "

 This is a great example of an early 6V6-based Reverberocket complete with Ampeg-specific tremolo & reverb.   Apart from a Fliptops re-issue handle and a couple of critical filter caps, this amp is completely original and authentic.  Nothing else sounds quite like it.  This amp is designed needs to run at US voltages so you will need a step-down transformer to operate this in the UK or Europe.