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CalDeep

Ampeg PF50 or Ashdown Little Stubby?

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I'm looking for any advice from anyone that has played or owned one or hopefully both of these! 

I run a small commercial studio as well as being a session bass player. I'm looking for a decent tube amp that will do that expected tube amp thing in the studio and for smaller gigs. I've very keen on either of these but both have pros and cons for me, and Im looking for any advice from owners. 

I love that the PF50T has self loading, every amp should have this, just for safety alone! - However there will almost always be a mic on it so it's not a dealbreaker. I kind of feel like some people listen with their eyes, so something with Ampeg written on it is always good for a studio. The biggest plus - it's THAT sound, and I love THAT sound. 
I love the Stubby for the feedback control, from everything I've heard it seems like you really can convincingly get anything from SVT to B15 to Bassman - this is super attractive - if this has self loading it would be an easy winner. I've also had an LB30 drophead on loan for a few weeks and I'm getting on well with it.  

Both about the same price. Both as easily available. 

HEEEEELLLLLLLLPPPPPPP

Edited by CalDeep
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I’m Ashdown biased, pretty much indestructible products (something where Ampeg slips behind a bit) and sound great as well, plus based in UK with excellent customer service so any problems easy to get sorted.

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3 minutes ago, Lozz196 said:

I’m Ashdown biased, pretty much indestructible products (something where Ampeg slips behind a bit) and sound great as well, plus based in UK with excellent customer service so any problems easy to get sorted.

You're not wrong! They made me two custom CTM15s years ago which I sadly had to sell, service was excellent. 

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I haven't played the Ashdown, but I own the PF50T. I feel like the Ampeg active midrange EQ circuit does quite a specific thing that you'll either like or not, though if you've used an SVT or V4B you'll have an idea of what that is. I still haven't used the silent recording function on mine, though the DI outputs have been useful. I've found it to be fine for the gigs I do, too. It's a very midrangey amp (unless you use the ultra low switch, which I never do), and that really seems to help it make effective use of the 50 watts and to sit in the mix nicely.

I guess it's mostly down to personal preference, if you've already found that the LB30 works for you then that might be a safe choice, but the Ampeg is no slouch either.

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I have the ampeg - very happy with the sounds from it. Not used it for recording but I feel it would probably be good for it given the out out options. The down side would be it's not particularly versatile, you'll get the ampeg sound and not a lot else. But then I play a P with flats through it so I'm hardly breaking the mould! 

 

Ashdown; I've never played the model you're thinking about so that may be different but I've played countless of their other ABM type amps and have never got a sound out of them I liked. 

 

Reliability wise; I've blown two ashdowns in rehearsals, but the only two bass amps I've seen to up in smoke at gigs have been SVTs so probably about even? 

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I've not owned or played the little stubby, but I own the PF50T and have owned the LB30 and CTM30 at separate times in the past. They kind of overlap a little sonically. If I was pressed I'd say I probably SLIGHTLY preferred the tone of the LB30 over my current Ampeg, but not enough to change... Buying today I'd probably opt for the Ashdown myself, but there's nothing not to like about either of them really! 

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Do you need either?  There are some awesome plugins available with tube amp sims that sound identical to the originals, and it'll save you a lot of cash, maintenance and setup!

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