Ed_S

I could be wrong, but I actually believe it's got something to do with the number of Ashdowns that were sold to people who should never have owned one, mostly by wage-slaves in big-chain music shops who just had a mountain of similar boxes to shift in order to try and remain employed. As more choice and better advice has become available, so these people have found their sound courtesy of a different brand and ditched their old gear. Sadly a few such punters have taken this revelation to signify the fact that their Ashdown was rubbish and their new amp is brilliant, when in actual fact their old amp was fine, just never right for them in the first place. I think Ashdowns are at present exactly as favoured/popular as any brand should be, that being to say that they're being bought and used by people who actively like the sound they produce. Personally, I've come to the conclusion that Ashdown make some very solid and reliable kit to some commendably accessible price points, but it just doesn't work for me.

Likewise, I'll put the word out in Sheff's dirtier metal circles and see if anything dredges up.

I really miss the duo that I used to play in - sadly my friend moved up to Newcastle to get away from her husband which put an end to the music. Was great fun doing the coffee house circuit, though, and whilst it's true that there's no hiding, you soon come to really appreciate the space you have to play in. I never played an acoustic bass; I'm sure your jazz will be fine. Go for it

[quote name='hamfist' timestamp='1335421358' post='1630679']
The ABM is certainly much more flexible tonally than the OBT. You'll certainly get an uber bassy, scooped sound or a mid-heavy vintage sound, or anything inbetween if you set it up right. And I'll say from the outset that I'm a big fan of the ABM.

Personally (owning the EVO III), I think the sub harmonics thing is just a gimic. I would never consider using it in the real world.

As for the volume issue, it's certainly an amp that can appear to have volume issues if you don't use it as Ashdown intend.
I was playing guitar in a band a few years back and the bassist had an ABM500, EVO II I think. He always had problems with volume, but didn't actually understand how the amp worked. So, in hindsight, I now see that he was the problem, not the amp.
There are a number of ways in which you can knock your volume with the ABM. Firstly, you have to set the input gain appropriately to get a decent signal into the amp. I believe a lot of folks are much too conservative when setting this. Next, how you set the EQ can have a MASSIVE effect on volume. I would definately recommend adding frequencies to taste, rather than reducing them. Next, the onboard comprpessor --- simples ... don't use it. It's [email="cr@p"]cr@p[/email] and kills a lot of volume.
My EVO III, when set up properly, is at least as loud as the little Mark III and GK 700RB II that I have owned.
Through a reasonably sensitive 4 ohm 4x10 having the master on noon is pretty deafening.
[/quote]

I'm sure I've written a response like this before (maybe even to your good self!) regarding the ABMs, so please take this in the jocular spirit intended... but really, the sub harmonics are a gimmick that you'd never consider using, the compression is cr@p, the gain structure is deceptive and the EQ works best the wrong way round... and that makes it a great amp?

There's a seller on eBay at the moment (http://www.ebay.co.uk/itm/370607333725) but I guess it depends how much you want to pay. I just got one posted from a very good business seller over in Poland for £98 delivered, so they do crop up that little bit cheaper, but I suppose if you're the only guy selling, you get to set your price!

I'm not an Ashdown-hater as such, but just to be absolutely transparent from the off, having owned one myself and borrowed a couple of others I really don't like the ABM500 at all. Trying to be as fair as possible, however, I'd keep the OTB if you need the ability to be heard in a loud band with any kind of battle for the low frequencies going on (down-tuned rock/metal etc.), and only head towards the ABM if everything you do is at a somewhat more sedate level where the extra variation in the preamp won't suffer from being completely drowned out before anybody gets to hear it. I don't think Ashdowns are 'wooly' in particular, but tonal refinement is only any good if you have the grunt in the power section to throw it at the audience, and in my experience this is exactly what's lacking.

Last Friday I ordered a few sets of new strings and threw in some pressure-wound (Roto) and half-round (D'Add) sets just to see if I was missing out on anything. The pressure-wounds went on my USA Standard P on Saturday morning and, despite being quite underwhelmed by their unamplified tone, they came alive once plugged in and I spent pretty much all my free time over the weekend plonking merrily away, rather impressed by their 50s rock 'n roll and acoustic accompaniment potential. Happy customer.

Tonight I decided to give the half-rounds a blast on my Blacktop J, and frankly I wish I hadn't bothered. They're really not the sound I want, which is a subjective thing and, in fairness, ascertaining that fact was kinda the point of the exercise. What I'm really left wondering about is the feel of the strings themselves, because from this perspective alone they appear to be highly inconsistent; the E is smoother than a round but still ridged like the pressure-wounds, the A and D are much smoother and flatter, whilst the G is back to being very lightly ridged, but relatively less so than the E. They just feel like I've pulled a set of random strings from different manufacturers together in desperation, stuck them on and hoped for the best!

Has anybody else tried these and had similar or different experiences? Any long-term users who can tell me if this is a bad pack or if what I have is how they should be and I just really don't 'get them'? I certainly won't be buying any more myself, but I don't like to formulate what will be a lasting opinion on the basis of only one potentially uncharacteristic experience.

p.s. anybody interested in such things, look out for a potential to-go thread in the freecycle section just as soon as I get them off and some plain steel rounds back on!

I used to have twin 2009 MIM Precisions with very close serial numbers - one white/maple, one black/rosewood - and with stock pickups, a new set of the same strings and (as close as feasible) the same setup, I have to admit that if there was any difference in tone it was too subtle for me to discern. I don't favour the feel of either wood over the other, so my choices are entirely based on aesthetic appeal in context.

Dunno if you got yourself fixed up, but there's one on ebay uk atm..

[url="http://www.ebay.co.uk/itm/140741794571"]http://www.ebay.co.uk/itm/140741794571[/url]

[quote name='Mykesbass' timestamp='1334782230' post='1621324']
I'm a big fan of pressure wound Roto's - a nice flats/rounds compromise that really works for me.
[/quote]

I just put a set of those on my USA standard P on Saturday morning - first time I've used anything other than steel or NPS rounds. Got to say I'm quite impressed so far; they'd be no good for my metal band, but I think my acoustic exploits will sound better for their slightly mellower nature. I bought a set of D'Addario Half Rounds on the same order, so will see how they sound next...

I find it quite interesting to borrow other rigs when we're playing support and they're made available. So far, the only thing that bettered what I'd taken was an AD200BmkIII which naturally compared favourably to my TB500, and the only rigs that I've actively disliked have been Ashdown ABMs; we don't get on. Everything else I've had fun trying out and been able to get a useable sound out of at a decent volume, with or without the help of my Sansamp. Got to admit it's quite funny when somebody offers you their Behringer to borrow because your rig looks "a bit small" and they've "never heard of it" (Markbass LMII / Barefaced Super-12), but one has to smile and think 'hey, what's to lose.. it could be great..' so graciously accept and try it out knowing that it's only a sound check. No hurt feelings on the part of the owner, a spare I'm still able to borrow should mine die (it happens!) and what better way of trying loads of gear at gig volume and no personal expense?! For the record it wasn't great, but I could have made do with it had it been my only choice.

OP, the rig that will excite and be worth a grand to you is out there somewhere, so just keep trying stuff until it finds you. And hey, if you never get there, then at least you've had a very cheap ride not getting there!

I didn't mind the Bass V-amp Pro for what it was, but it was always a poor relation to my Bass Pod XT, which in turn became a close second to my Pod X3 Pro. And I still wouldn't gig the X3 Pro over and above either of my 'real' preamps (Sansamp RBI / BBE Bmax). I guess what I'm saying is that I'm not exactly a naysayer (even though mine just stopped working) but certainly not a fan, and I'd advise you to at least spend the extra 60 quid on a second hand Bass Pod XT Pro from the 'bay.

To answer your question directly, however, maybe a Behringer EPQ450 (£150ish new, but bear in mind that the same could get you owen's IPR1600) or maybe a W-Audio Horizon 300 (£120ish new, but I picked up an as-new Horizon 600 for about £90 from that most auspicious of auction sites not long ago, so the bargains are out there to be had). There are even cheaper examples if you really don't need a lot of power; the KAM range that the lad from Gear4DJs is doing special BC offers on goes right down to the £89ish mark, but there's a whole load of getting what you pay for to be considered, and I'd really urge you to do so.

[quote name='EskimoBassist' timestamp='1334877439' post='1622979']
My TU-2 has been tough as nails for years, but it has rather fallen out of favour on the forum.
[/quote]

The TU-2 is dead.. long live the TU-3! Seriously, though, the TU-3 is a very nice bit of kit - much quicker to 'lock on' to the note you're playing than the TU-2 was, and accurate enough (in stream mode, at least) to do your intonation, as checked against a Peterson.

If I was in that position, I'd be going out to see a few such bands, making a note of their set, coming home and assembling it on CD / iTunes etc. then asking myself if I could play along to it solidly with no unrecoverable screw-ups. If so, I would probably class myself as ready. It's a rough yard-stick, but accurate enough!

Edit: As an afterthought, doing so would also mean learning / knowing a lot of pub rock standards, hence making you much more able to jump in and swim, as opposed to sink

[quote name='neepheid' timestamp='1334764134' post='1620876']
Any I've tried (Takamine G series, Ibanez AEB, crappy £50 ebay thing) are drowned out by a single acoustic guitar and in practice need to be amplified to be used in any ensemble musical context. So you need to amp it anyway, which apart from the attendant risks of feedback means that [b]apart from aesthetics you really are no better off than using an electric bass[/b].
[/quote]

Exactly my experience.

Add a Westfield cheapo and a Fender Kingman to the list of similarly afflicted, btw. If you must have one, do yourself a favour and get one with a standard size and shape sound hole so that you can buy a feedback eliminator (more like 'reducer' in reality) to bung in there.

[quote name='drewk_ie' timestamp='1334732850' post='1620272']
Hi Ed_S

I have a steinberger spirit XT2, that I'm just about to put up for sale, bought it with the intention of having a bass at work to play during lunch hour, but that has yet to happen... The bass is immaculate with gig bag and only 12 weeks old, so still under warranty... Could have it shipped to you for £270 if you were interested?

Cheers

Andrew
[/quote]

Hi Andrew,

Sincere thanks for the offer, but unfortunately the current price of a brand new one with full warranty in my name is lower than £270, so I'd only be interested in anything second hand which offered a substantial saving on best price when new (£240 give or take a pound at present).

Thanks again, but I'll have to decline!

Cheers,
Ed

Yeah, my USA Deluxe P (or at very least its tragic preamp) had shielding issues which I'd not really noticed in setup and testing but came thundering to light in the recording studio thanks to a fluorescent strip light in the booth. I recently ripped out the preamp and replaced it with a Glockenklang 2-band and it seems ok now, but to be fair I've not subjected it to any serious interference to test it yet. I've seen it written that the cavity shielding on the deluxe bodies is painted on and then lacquered over, so that screw that seems to be going into nothing more exciting than the wood is actually your link into the cavity shielding.. dunno how true that is, but it would stand to reason.

If it still has issues when I test it properly, I might get the body refinished and conventionally shielded because the quality of the finish is total dross for a £1400 bass, but the neck is great and I've paid too much for it already so might as well go the whole distance given its potential 2nd hand value.

[quote name='icastle' timestamp='1334479738' post='1616559']
The older players have got their 'experimenting' and 'quest for that killer tone' thing out of their systems and have settled down to concentrate on actually playing.

We've probably all been there at some point.
[/quote]

'tis true! Though that said, even when you've settled on the right bit of kit, you still have to spend a few years going through all the different permutations of colours, finishes, electronics and hardware! It's a tough life...

...especially when you discover that B/W/RW suits you, and the config that really nails the 'authentic' tone you were after is best described as 'stock'.

[quote name='discreet' timestamp='1334419894' post='1616022']
I really [i]want [/i]to like J basses, but the result of long trial and experimentation has always led me back to the simplicity of a P bass.
[/quote]

You're quite noble to have gone as far as the experimentation phase! I managed to shun Js on the basis of aesthetics alone for 15 years, but my dislike was/is fairly specific; J pickups. The J body shape never set my world alight (though I don't mind it as such) and the differences in neck dimensions don't bother me, but I think J pickups just look weedy and unappealing. I thought I'd get away with keeping my cash, but then Fender brought out the Blacktop...

For me it's the absolute simplicity - four strings, one pickup, no preamp or battery, timeless body shape, timeless sound, absolutely nothing to argue with and very little to go wrong; I just open the taps and play, with nothing but the music to concern me. Nice place to be

Given that you can get a multitude of after-market pickups, preamps and different strings to change the sound of most 'classic' basses into something more akin to various others before you even get to the amp / modeller, I'd have thought that these days it was a subtle mix of overall aesthetic appeal and preferred neck dimensions that sold a P to one guy and a J to another (and both to many others). That quote in the OP might have held true 'back in the day' (I don't know - I wasn't there) but I can't agree with it in the current climate.

Another happy G30 user here. Mine's sort-of-rack-mount in that a couple of Velcro tabs secure it to otherwise useless space in the back of my rack; I've never had any issues with it being out of line-of-sight, alongside a load of metal and power cables and with both guitarists using G30s too. I actively prefer the 30 over the 50 or 90 because you can use 'proper' cables with it.

As a fan of heavy rock and metal, I like the visual impact of a full backline and, knowing how difficult it can sometimes be, respect the effort put into making it all fit, work together and sound good. I guess I even respect the way people deal on the spot with real equipment suffering real problems. Digital modelling just doesn't have the same draw for me; I find it quite impersonal. Don't get me wrong, I'm not saying it can't sound good (I have an X3 Pro and know there are some good sounds in there) and in a recording studio that's all that matters, but in a live context I'd go a long way to keep my backline and that of my guitarists, faults and all.

[quote name='cheddatom' timestamp='1334142012' post='1611412']
I need a bass rig, otherwise i'll have no fun
[/quote]

..a universal truth if ever I heard one!

Cheers, Paul - looks like a good deal for somebody but even at £200, that goes £100 beyond my "I'm willing to take a punt on 2nd hand" value I'll stand to the extra £50 and buy a new one with a warranty!

[quote name='Paul S' timestamp='1333796495' post='1606554']
they sound immense - somehow just exactly like a P. bass.
[/quote]

Now *that* is more like what I was after hearing!