la bam

I've A/B them at playing level through ok PA - Mackie etc and to me the emulators seem more harsh and modern. I've used them on recording at low levels and they do sound great there. I know the emulators are in fact just more complex eq patches, but I feel it's just missing something. If anyone has a good svt 8x10 IR let me know.

I had a look at the 802, a little frustrating... although no doubt itll be a great amp. Why they've done a jack DI out and not an xlr baffles me. An xlr would have been perfect. Yes, it does the same thing, but you'll be forever carrying a jack to xlr cable around or a jack to xlr adaptor. I get it with the stomp as it was to keep everything small and compact, but I'm sure they could have fitted an xlr on the 802. Shame they didnt keep faith with the 2 eq dials, but I suppose the 802 is for people who have tried that and found they were missing that extra eq for mids and high end control. In all honesty I love the 2 dial eq more so than the 4 band ones. I've had lots of amps with useless eq (markbass with no real mids) and lots with loads of eq bands (9 band ashdown etc) and the 10 channel eq pedals on the stomp, but nothing has been easier then the bb800. Needs more character and drive (turn gain up), needs more depth and bass (turn depth up), sound needs smoothing out (turn contour clockwise) sound needs brightening (turn contour anti clockwise) so much easier than trying to work out what frequencies need adjusting - I just always found that led to a never ending ordeal or turning dials endlessly until I fluked upon what was needed. I do like what they've called the eq settings on the 802 though - kind of makes sense when your looking for what to change in the sound.

I genuinely (despite owning a stomp and several IRs) havent found a satisfactory svt 8x10 emulator yet.

I agree. But then again you could say that about any cab.

I used my quilter with an svt 8x10 cab last night. Those cabs are fantastic. Soft, cushiony feel and fit lovely in the mix. I genuinely think a lot of the ampeg svt magic is in those cabs, not just the amp heads. I'd never have one though. As much as I'd love one. Far too heavy and impractical. x2 4x10s make much more sense if you need a full stack, and even then that's only for massive outdoor gigs.

Ok, here goes.... (from memory) and it's only my experience... and it could be because it replicates the bass more rather than being coloured with a particular sound. Trace elliot commando 12 Ashdown mag 300 Ashdown superfly Line 6 lowdown 300 Mark bass LM3 Genz Benz contour Ashdown abm 2 500 Mark bass evo1 Ashdown little giant Tech 21 VTRM and power amp Ashdown evo iv 600 Trace elliot elf Laney Nexus 400 all tube As I said, it's my favourite "all round" amp. That includes taking the following into consideration: SIZE: very small and compact. WEIGHT: easy lift with one hand. PORTABILITY: fits in bass case, or takes up no room in gig bag. SOUND: everything flat at mid gain the sound is a kind of modern mid heavy sound to my ears. But winding up the volume really makes it a powerful sound that sits great in the mix. Giving that nice space to keys and bass drums. It really tidied up our band sound. SOUNDS AVAILABLE: as said above there are a range of sounds available from Motown to modern to classic rock. EASE OF USE: plug in, set flat. Turn 2 eq dials to taste. Add in drive. Set volume. Leave alone for entire gig. Takes 1 minute. POWER ON TAP: seriously with a 4x10 upwards you'll not need anything over 200w of the 800w available. But if you do - it's there. No need to worry about running out of juice anywhere. FEATURES: headphone amp, line in, line out, drive and compression (via gain). All good. RELIABILITY: no problems whatsoever. No issues online either. CONS: The only thing that could really improve this amp imho is a small built in tuner and a dedicated DI out. The line out works great as a DI, I've used it indoor and outdoor as a DI, but occasionally you'll get paranoid sound engineers who want a dedicated DI. A DI would also be pre eq so would give the sound guys a flat sound to work with. So in conclusion, yes, theres better sounding amps. Theres lighter amps. Theres smaller amps. There are more featureful amps. There are cheaper amps. There are amps better suited to certain genres. But for me, taking into account all the above, and the amps I've used over the years, this is the beat all round amp.

Haha, yes, sorry, I should have added "......that I've used."

I had an hour or so with mine yesterday in the house dialling in different tones. Winding up the depth and winding forward the contour, then rolling off the tone on the bass guitar gives a lovely Motown esque vibe. Adjust gain and volume to taste. Winding the contour back gives that kind of ampeg clank. Again add gain drive to taste. Having the gain at between 9 o'clock and 12 o'clock gives a really tight sound to start with, removing the slight grind and drive. From there you can get modern and vintage on tap. What I did find really interesting is that it seems to react to the tone control on the bass itself more than any other amp.

In fact thinking about it, I've had: Ashdown mag 307 head. Ashdown mag 410 deep cab. Ashdown Superfly. Ashdown mini 4x8. Ashdown mini 15. Ashdown Little Giant. Ashdown RM212 cab. Ashdown ABM 600 evo iv. In the end, in the mix, most sounded great just set fairly flat. Although the abm600s eq though is something else! Amazing powerful detail in that amp. So, they must be doing something right! I'd happily gig (and have done) with all of those apart from the superfly.

The ashdown mag300 was the first serious amp head I got. Got it at the same time I bought an ashdown mag410 deep cab. In all honesty I hadn't a clue what I was doing eq wise in those days, but as a band we always sounded good, so its core sound must be good, even if I could have tweaked it to sound better. The old mags are a little harsher or spikier than the cushiony warm abms, but whenever I've heard bands use them they sound great.

Mine is my favourite all round amp ever. I think people get can get confused, but take time to properly understand the controls. I say this as I assumed at first 'depth' was clockwise for more bass (which it is), and 'contour' was clockwise for more highs. But it isnt. Clockwise is a smooth smoothed out sound. Anti clockwise gives you that high end bite especially when then turning 'depth' anti clockwise also. All the controls work with each other. Gain adds a bit of dirt and compression clockwise, and is clean as a bell anti clockwise. Again, work that in with your eq sound.

Great amp. I had one. Spend as much time as possible getting used to the controls. Its confusing to how all 4 main outputs work together. Also, use the software - the compressore on there is by far and away the best compressor I have used.

For me, I just go off feel if I'm starting anything, or anything else has to be drummer lead. Lock in with your drummer and you'll be fine. If it's too fast or too slow you'll feel it, rather than know it from memory.

Markbass couldnt even be bothered responding to me when I wanted to buy some rack ears for one of their amps I'd spent a fortune on buying. I asked by email and their own facebook page and messenger. Got nothing back. Ashdown responded within an hour for rack ears for one of their amps I also had, and transaction done in less than 2 hours. I kept the Ashdown. The markbass went. Customer service is essential for a brand for me.

I love an 8x10, but the reality is i never really run them hard. If i do, i cant hear the drummer. So it renders the whole thing a bit pointless. Only time I've ran an 8x10 hard has been at big festivals on large stages outdoors when we dont get anywhere near a sound check or chance to amend anything. My lightweight 4x10 is all I'll ever need from now on.

I had one of those (if it's the mini 4x8). I thought it would be light and easy to move. It was like lifting 10 tonnes of lead.

Me too! Weird.

In theory it shouldn't be enough. But, with a high quality efficient 4x10 it's more than enough, honestly. I run mine with a helix in the loop just for tuning and detune. I have the helix volume on 3 o'clock. The quilter sound just cuts through so well it doesnt need much volume. Genuinely, and I tried, if I went one click over 40w on the bb800 I then struggled to hear guitar, and we are a really loud full on band, with drummer, guitarist, bass, keys, synths and 4 backing vocals. My previous amps were: 400w laney nexus all valve nx tube. Ashdown evo iv 600 abm. Markbass evo I 500w. Most of them lived on between 50% and 75% volume. Oh, and I forgot......I wear ear plugs as well! So its be louder still if I took them out. Obviously what works for some wont for others, but dont dismiss it purely on wattage.

BB800 round, try gain on 4 o'clock. Depth on 2 o'clock, contour on 3 o'clock. (That's o'clock position not number). The contour clockwise smooths everything out and the gain adds character and drive.

This is why our business never does the black friday or indeed any other discounted offer sale, even though we could very easily. All you end up doing is upsetting customers who have paid full price, and it causes no end of headaches. It can even lose you business with returns and cancellations.

Me too. I've done my last 3 gigs (over 200 crowd) in our queen tribute (with pa support) through my laney 4x10 with the output on my quilter bb800 showing less than 40w.

You'll pick up a used combo - Trace elliot or Ashdown Mag - even an ABM for under £200.

Go 1u more and get a used QSC. Different class in sound and reliability. If you're lucky you'll pick one up for around £100. Failing that the original behringer ep range (copies of the qsc) are pretty indestructible. Both are heavy.

Great amps. Take some time to work all the buttons and eq out. But the extra mid sliders are fantastic. Really being it alive. As with all ashdowns, forget what they sound like on their own, they sound great in the mix.

I really think 300w minimum as a rough guide. I'd genuinely get an ashdown abm combo for second hand money and put wheels on it. Failing that splash a tiny bit more and a rumble 300 v3. As others have said, you'll be lucky to get loud and light for £300. Sounds to me like your keys player is drowning you out on stage. Work together to find frequencies you can both be heard in. Failing that, roll your bass back and add in mids.