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  1. Looks like an AH200. Great amp, not very heavy, plenty powerful. Run with any modern light cab...and smile. Just start without the pre-shape, and a flat eq. If the graphic eq doesn’t make sense then google the TE manual...
  2. They had a great reputation in the folk world - the stick on bug types could be used to good effect on all sorts of things! I had one of the bridge wing pickups on an early cheap double bass - with a preamp it sounded good, but died after a few months. He did at one time sell a complete bridge, with the elements set inside, but I never heard or saw one. Talked with him a few times, and he repaired an Ashbory bridge for me at very little cost. A real loss to the music scene.
  3. Ashbury bass on the wall....there could be some stories to tell??
  4. I did see a BB cab in Rikaxe music many years ago....thought it unusual at the time....😳
  5. I've used a few, going back several years (Acoustic Image, Euphonic Audio, Aguilar TH500) but my favourite has been the Ashdown Retroglide. It's just a power amp with a graphic eq in front...no flavour of its own, just takes what you plug in and makes it louder...give or take the graphic settings. I mostly stick a Sansamp in front, but that's from choice not necessity.
  6. Hi Phil, Yes, the 350 is still here, let me have a think...it’s been a while now. The market value is very low compared to it’s usefulness 😳
  7. The Sansamp does fuzz, but it can be subtle too (despite its own instructions!). It took me a year to work out what the Sansamp can actually do, and then I only really got it when I started travelling more and using all sorts of rental backline. The Sadowsky/Aguilar units are great too, but only do warmth (or rasp) as they are really modelled on the Music Man circuit that Leo Fender decided to use to make the Stingray sound huge. Small amps are great these days...and just what's needed for run around gigs in small venues when you can't park anywhere near. But, they do sound a bit modern and lacking in warmth.
  8. A bit general I know, but I do a lot of "small jazz gigs" and often find that they are neither as small or jazzy as the booker intended. The thing that works for me is a clean /small(ish) combo or head /cab but what gives me the extra is a warm sounding preamp pedal. For amps, it can be an SWR, Ashdown Retroglide or a Mambo (jazz guitar amp) and for preamp its either Sansamp, Sadowsky or Aguilar DB924. It all does the same thing, makes the amp sound a bit bigger and older than it is.
  9. He is on FB, but would probably delete any negative vibes 😳. Not sure he has much to do with running the company, but it’s a shame to see a once respected brand, with some high profile endorsers, perform so badly. Hope this situation improves, but Hartke is off my list for now 😳
  10. Yes, the SC 50Plus was a decent small valve head, two big power valves and heavy transformers. Smelled like good amps should... The Cobra was good, but very cheap build - plastic end plates and thin wooden top. The handle pulled out of. the chipboard cab quite a few times..
  11. I did - moved up from a Sound City 50Plus, to a Carlsbro Cobra 90 head and cab. Still slightly surprised I didn’t kill myself with the SC, knew nothing of lethal capacitors etc, so it was probably a good thing. I liked the Sound City..and would happily gig with one these days. But the Cobra was a marvel..with virtually no components inside the case, just a few bits stuck to the front and back of the very empty box 😳. That’s probably why the power light used to dim when I played a bottom E with anything like enthusiasm.
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