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Unimusic consisted of investors interested in capitalizing on opportunities in the highly-fragmented music equipment manufacturing market of the time, not unlike CBS (which owned Fender and Rhodes), or later Norlin (which owned Gibson Guitars, Lowrey and Moog Music).
While Hull was retained as President of Ampeg, Unimusic had purchased the company with the intention of using as a starting point for change.
Hull's design placed a transducer atop a support peg inside the body of his instrument, inspiring his wife Gertrude to name the invention the "Ampeg," an abbreviated version of "amplified peg." On February 6, 1946, Hull filed a patent application for his "sound amplifying means for stringed musical instruments of the violin family," for which was awarded the following year.
Another story is that the UK amplifiers were stuck at U. Customs and would not arrive in time for the rehearsals and tour.
In an effort to establish an Ampeg presence in key music markets, Ampeg opened regional offices: one in Chicago, another near the Ryman Auditorium in Nashville, and another in the Hollywood Palladium in Hollywood.
Also during this time, Ampeg’s Chief Engineer Bill Hughes and Roger Cox, with input from Bob Rufkahr and Dan Armstrong (a New York session guitarist and guitar expert who Ampeg had hired as a consultant), were developing what Cox envisioned as the “biggest, nastiest bass amplifier the world had ever seen.” The Rolling Stones anticipated using Hiwatt DR-103 amps, as used during their 1969 Hyde Park gig, which they brought from England.
Hull's distaste for rock and roll music was further compounded by the success of Ampeg's chief competitor, Fender, as they continually bested Ampeg in overall sales.
The company continued to experience growing pains - by October, 1966 with 200 employees and 40,000 square feet of space, Ampeg's production capacity had increased to 0,000 per month, yet had .5 million in unfulfilled backorders.