danhkr

I suspect if anyone finds a good EBMM unusable, it says more about them than it does the guitar. In all fairness though, it's a good thing when companies come along and try to be innovative - certainly beats the crap out of wading through hundreds of fender clones - but the vast majority of great bass players and bass lines were around long before the 'fanned fret' system. To me it's an interesting alternative rather than an improvement. As for the OP, really disappointing to hear EBMM have let a duffer slip through the net. Always a risk buying unseen, but you expect top notch build quality to be a given with them. Hope you get sorted out and they make some sort of an effort to make up for it.

I use Elixir 50-105, but that is as heavy as they go and most shops don't stock them. I wouldn't recommend using any other 'coated' string as (IME) Elixirs are the only ones that really 'work' well enough to be worth the extra expenditure, but there's plenty of other good uncoated strings that go heavier. EB Power Slinkys lasted me quite a while and they are 55-110, and I think DR do some drop tuning sets which may be worth you looking into. Also it's well worth improving the life of your strings by getting into the habit of cleaning them after use (takes less than a minute to give them a rub down with fast fret).

I thought my relatively new EBMM Sterling was a fantastic bass until I bought a 1994 model! At the time I also had a Big Al SSS and a roadworn Precision and after a few gigs with the '94 Sterling I flogged the rest. Better weight, resonance, playability and neck finish & profile than either of the modern EBMM's I had, and whilst the P offered something very different, it didn't get a look in. Birdseye maple and the big bridge are nice 'extras' as well. You can never say never, but it'd take something really really special to make me want to part with the '94 Sterling, and it's the first time since I was a kid that I've been perfectly content with owning just one bass.

I think the bigger MB series stuff sounds great for the money but I'm not sure about build quality and reliability. Mixed reports.

Yes, I don't think this new one, the dual tube range or the all-valve stuff looks as smart as the ABM and BTA stuff. That old 'script' font that everyone was using in the early 90's is pretty naff. Firm believer though that it aint what an amp looks like, it's how it performs and despite what people say, Ashdown's MAG and ABM stuff is pretty-much the industry standard at those price points.

[quote name='Rumble' timestamp='1317731739' post='1393772'] I can dial out the boom by trimming back the bass, but that seems to negate the point of getting the ABM in the first place. [/quote] I don't see why, eq controls are there to be cut as well as boosted and there's plenty of scope either way on an ABM. It's a new amp, start with a flat eq and spend a bit of time with it, and again, don't be afraid to cut!

[quote name='phatbass787' timestamp='1318372770' post='1401447'] If I was going to go valve amp I would have to try one of these bad boys for sure... [url="http://www.ashdownmusic.com/bass/detail.asp?section=valve&ID=231"]http://www.ashdownmu...on=valve&ID=231[/url] [/quote] Hell of a lot more expensive though, and (as you've probably guessed from the LB550 thread) I'd certainly want to take a peek inside and see if the build quality is actually any better than the ampeg. I've said it lots of times but the majority of valve gear really is the 'emperors new clothes'; it looks and often sounds the part but I'm far from convinced it's made to the standards it should be to justify the outlay.

[quote name='stevie' timestamp='1318347090' post='1400943'] Of course they would have cost more. But I didn't say anything about building to a price (and yes, I know what that means, thank you) but building down to a price. I don't have the MAG cabs, I have the ABM ones - the top of the range. So they should be up there with top end cabs but they're not because Ashdown skimped on the bits you can't see. I've no reason to believe the latest ABM range is any different. You're a MAG cab user, eh? Miles better than Behringer - well that's great. You must be very happy. What exactly is Ashdown's market share, by the way? [/quote] ABM cabs aren't top of the range, but my main cab is an ABM 610 and it's really good. Perhaps theres something better out there for the same money, I don't know, but I tried mine and the 4x10 up against Ampeg, SWR and Hartke equivalents (all more expensive barring the Hartke) and it was superior to my ears. My MAG cabs are spares and rehearsal cabs and they're great, really nice and punchy, although not as good as the ABM. The comparison to Behringer was because of the similarity in price ie. [i]for not a lot more than a Behringer you can get a really good usable cab.[/i]

[quote name='Musicman20' timestamp='1318345084' post='1400897'] Virtually all modern all tube amps are PCB. I know purists prefer the 'real thing', but the tone difference is ...what...nothing? The Ampeg CL is horrendously expensive, and yet its built overseas, with the same technology as the AD200b. Difference is, the AD200b is noticably more 'distinct' in its drive, and certainly better for my tone goals. No offence to Marshall, but I wouldn't touch a Marshall for bass, ever. Don't really like Marshall guitar amps if im honest. Watts and volume are not a concern for me with a full tube amp...especially anything over 100W. Yes, Matamp can build great PTP high quality tube amps, but is the tone exactly what Im looking for? Not sure, but I'd only look at Orange and Matamp from now on. The Orange cabs are big heavy tone monsters. They are built like a tank, heavy, but excellent tone. Very well finished and constructed. The attention to detail is excellent. I bought my Orange gear 2 years or more ago before they became very popular again, and I didnt have to pay £1300-1400 for the amp. I would still think £1300 for the AD200b is reasonable, especially compared to the Ampeg CL. The customer service is another major point. Orange (particularly Neil) have an excellent reputation in this country. [/quote] I agree most modern amps are PCB made, but the better ones don't mount poweramp valves straight on the board. It's a real cheap quick fix and is notoriously bad for faults and expensive repairs. If a company does it, it should be reflected in the price regardless of tone. This goes for Ampeg too ([i]and[/i] Ashdown if their valve gear is the same - I've never seen theirs). Shame on Orange because they could mount the valves on proper bases and still be predominantly PCB based, yet increase the durability and QC tenfold. Knowing what I know they'd still make a fortune selling it for £1400, but like many companies these days, it's all about marketing and making money rather than truly supplying a quality made product. It's just sad that the price suggests it is something that its not, especially when Matamp would probably hand build you a similar amp properly for similar money. I'm not a marshall fan either, but the VBA is a monster. I'd recommend anyone at least give it a go, and like I say it [i]is[/i] built to higher standards but for less money. Personally I resent Orange, Ampeg etc for that.

[quote name='wateroftyne' timestamp='1318339044' post='1400784'] I have a feeling their market share is shrinking, though. People just don't talk about them like they used to. As for a huge roster of pro players... so they offer a lot of endorsements. Who doesn't want free gear? [/quote] Apparently they give nothing away free, and that came from a couple of endorsees I've met, one particularly high profile. [quote name='Musicman20' timestamp='1318340280' post='1400803'] I would 100% disagree with any comments regarding Orange and 'cheap build'. The British made equipment not only sounds stunning, (and quite 'original' as in has a tone Orange are becoming quite famous for)but the aesthestics and quality are hands down brilliant, even for the price point. I would always, on another point, pick Hartke over Ashdown. Great price, great tone. [/quote] So because they sound good and are aesthetically pleasing, that makes the build quality good? What odd logic. The AD200B is just a printed circuit board based amp, differing little inside from a mass-produced far-eastern made example yet it's astronomically priced at around £1400. At least something like the Marshall VBA 400 which is also PCB based, gives you twice the output, proper wired output valve bases away from the PCB and is around £200 less. I'd happily consider the view that if the tone is right, perhaps the above doesn't matter too much particularly if you look after your gear, but the price should reflect this and the volume of returns and faulty orange valve gear I've experienced in retail and in bands suggests otherwise. Sadly Orange are very expensive cheap amplifiers.

[quote name='stevie' timestamp='1318266983' post='1399895'] I agree with you. I have a couple of Ashdown cabs, which had potential but were clearly built down to a price and could have been so much better. [/quote] And if they had been 'so much better' I'm pretty certain they would've cost more. That's what building to a price means. I have a couple of MAG cabs and for the price I think they're superb. Slightly more expensive than the likes of Behringer, but miles better. Despite this at under £300 they're not going to be up there with top end cabs are they? [quote name='stevie' timestamp='1318266983' post='1399895'] Whatever you think of their products, Ashdown have a real brand image problem now. You just can't go on serving up shoddy, unreliable and unfixable products for years without paying the price. And their marketing efforts are laughable, too. Just look at this: [url="http://www.youtube.com/watch?v=wSxbFwmXAi0."]http://www.youtube.c...?v=wSxbFwmXAi0.[/url] That's the head of marketing and artist relations. Soooo embarrassing and just not how you build a brand. [/quote] A real brand image problem?! They're the biggest selling bass brand in the UK with a huge roster of pro players - they must be doing something right. People are perfectly entitled to dislike them but how conceited is it to believe they have an image problem just because [i]you[/i] don't like them!? I find people's heavy criticism of Ashdown bizarre at times. In my experience in retail, selling 3 or 4 times more Ashdown gear than any other bass brand you'd expect to see more back with faults but we had no more returns than any other equivalent brand and price point. Compared to Orange which were a total nightmare, cheap build and inflated prices - it was like two ends of the spectrum, yet Orange seemingly can do no wrong on this forum. Tone-wise amongst buyers ABM was nearly always favoured over solid state/hybrid equivalents such as Ampeg, SWR and the MAG stuff over Hartke and Marshall. End of the day it's horses for courses; I know players who swear by Ashdown and those who aren't keen on it. Personally, I'm not overly taken by this new amp, I think their 550 head represents better VFM, but it's amazing how some people have a bad experience, think they make too much product or take a dislike to the VU meter or a youtube vid and all of a sudden the gospel according to whoever thinks the majority of what they do is poor quality and they have an image problem. Which in reality, judging by how successful the company is, couldn't be further from the truth could it?

At below £400, I can't see them being Mexican. The blacktop stuff is cheap, this is even cheaper and bordering on Squier VM/CV series prices. They're also bringing back the 'original' japanese made jaguar bass (around £800), so it'd be interesting to see how this one compares to that at half the price...

[quote name='Ashdown Engineering' timestamp='1317141831' post='1387304'] Happily build you a totally made in England MiBass but doubt on the whole people would want to pay the price difference, sadly that's what we are up against these days and to be honest after working with our china factory for 10 years now the quality of our Chinese made products is so good would you want to pay a large premium simply to have made in England on it? If you do want to buy British we still make plenty of high end totally made in Essex products and offer a total custom shop service too... [/quote] Sorry to go o/t but the last few brand new ABM Evo III's I've seen in stores have said 'manufactured in England'. I was quite surprised at this as I thought it was now common knowledge that ABM production had been shifted to the far east. Has there been a rethink regarding ABM?

[quote name='KiOgon' post='1369988' date='Sep 11 2011, 11:10 PM']What would I do? What I have just done - buy from a USA retailer who ships to UK, at a bargain price & save a tidy packet The Fender UK dealers 'fixed prices' are just crazy. Cheerz, John[/quote] Blame Fender UK/Europe for the prices. Dealers would be literally paying the customer to take fender product away if they were doing it any cheaper.

[quote name='Musicman20' post='1368487' date='Sep 10 2011, 12:40 PM']If I was to buy an Ampeg now, Id ignore the lot apart from the SVT Pro 7. Nice price, fairly light, powerful, and powerful.[/quote] Tried one. It was good, but preferred the tone of my Ashdown ABM. Considering the valve route really, just don't want to spend loads on an amp that's going to be a liability. I take on board what you say about Orange and I'd certainly consider them, but having worked at a shop that does repairs I've been put off by the surprising amount of their valve gear that came through the door needing work.

[quote name='JTUK' post='1368414' date='Sep 10 2011, 11:34 AM']Not had a detailed look inside many Ampegs, but an amp tech I know hates working on the things. He says cheap components and awful lay-out...plus they are such a handful on the bench as well. Whether that would be any different if they were made in the U.S I am not sure, but then at least you could more justify the price premium on the basis of western build costs etc etc . I'd agree with Gareth... most companies would trumpet U.S made.. if that was the case.[/quote] Thanks for the input guys! Problem is, in my experience a lot of people in this industry have one bad experience of something and spend the rest of their lives telling everyone how poor that company/product is when it could quite easily be a one-off or not even the case any more. I'm not saying this is the case with the tech you know, but my point is; is he referring to all Ampegs, or just a couple he's happened to have worked on which to be fair could've been made in one of three different countries? I've heard a lot of criticisms of the pro (rackmount) series, and others have said the more traditional heads are a lot more sensible. It really is a minefield. As you say though, USA made might just mean the same components put together in a different country (maybe even not to as high standards if labour costs mean production needs to be quicker), but there is something quite off-putting to be spending a grand plus on an amp that's made in Korea or Vietnam. I guess you just have to look past that and try and establish which is the best to go for with regards to build quality. It appears that is not an easy task!

[quote name='Musicman20' post='1367775' date='Sep 9 2011, 03:51 PM']I dont think any of the Ampeg products are USA made apart from the Heritage. Granted, it seems Ampeg have sorted themselves out, but Im still wary of their customer service.[/quote] Cheers MM! When you say 'sorted themselves out', how do you mean? Were their QC issues, and if so, which period/models should be avoided?

I know they used to make the SVT classic head in the USA before shifting production to Korea (and/or maybe Vietnam?), but I was told they've gone back to making them in the states. Anyone know if this is true, doesn't seem to say where they're built on the ampeg site (which usually smacks of far-eastern build to be honest)?

[quote name='crez5150' post='1035902' date='Nov 25 2010, 10:05 AM']K&M or the Beyer badged version... GST 400 or GST 500 (extended boom) are what most Toursound companies use as they are fairly indestructible and you can buy all spare parts too.[/quote] +1 on that. K&M's are a million times better than bog standard mic stands even stuff like quik lok. Pricey but as long as you dont leave it at a gig, you'll never need to replace it.

Very similar to the highway 1 series but with a gloss finish and standard bridge. I think the HW1's are an acquired taste with the satin finish and usa standards have got really expensive, I guess the specials are fender's reaction to these two factors. Wouldn't surprise me if the HW1s are discontinued soon.

Worth at least a look if he's local I'd say.

You just enquiring or actually dealing with them direct? Only asking because normally they just deal with stores.

I use an Ashdown ABM500 Evo III and I think it's a great sounding amp. I used SWR Workingpro stuff before I got it and the Ashdown just opened up a whole new world of 'tone' in comparison. I've got the ABM610 cab and it's got tonnes of head room and sounds really punchy. My only criticism is they dont make a cover for it! I've also got MAG 410 and 210 cabs and to be honest the amp sounds pretty-much as good through those even though they're cheaper cabs. I've tried mag heads and combos, and whilst I think they're a brilliant option for the price, there's a big jump in tone when going to ABM, but I guess at around £300 difference, you'd probably expect that.

Pictures aren't great, but something tells me this isn't a squier. Could be great for the money or could be an absolute dog. I'd say play it safe and look for a second-hand squier affinity, I doubt you'd pay more than that but at least you know it'll be a decent bog-standard guitar.