dan670844

Sansamps are great they do a really good job of a tube sound. I use one a lot of the time these days, as stage monitoring is so good these days. I used a tech 21 Landmark while I was working in the states it's basically sansamp and a very high quality power amp in a small head unit. I have never seen one in Europe but they are fantastic amps. I wish I had stolen it now haha! Their cabs are good too. If you ever want to sell you V4 I will buy it for the studio, a great amp, heavy though!

Anyone got the Cabs? they look cool soundwise anygood, can't possibly be as good as people say they are too cheap.......................

[quote name='steelman' post='1307724' date='Jul 18 2011, 12:46 PM']I got just the Y2000 £300.00 job off the bay! Immaculate condition, great finish, great looker ( midnight wine) perfectly set up for my style, Our guitarist loves the tone ( so much so he;s going to swap his USA P bass which he uses in his studio for one.) Its a great gigging bass and I'm not constantly worried that some tw@t is going to nick it or chuck a pint over it etc. Horses for courses??? C[/quote] Yes I was toying with the idea of using one for this purpose, I guess you just have to find a good one, they do have a nice modern jazz tone, which is very forward

[quote name='sambassman' post='1307663' date='Jul 18 2011, 12:02 PM']I think i was also lucky with my 2007 mexican purchase, infact id say that my mexican jazz played and felt better than my USA jazz. build quality was also shithot. but obviously the sound of the USA jazz is much superior to the mex. my only issue with my mexican jazz was that the tuners were a touch wobbly[/quote] Two Words Quality Control..... Poor quality control i guess equal higher profit....... What I am saying with the Mexi's nothing wrong with the components bodies necks pretty ok, but jeez wept its like they have been scewed together in the dark. On the other hand the Squier classic vibes, and the Squier Vintage mod (3TSB with rosewood neck) They were excellent, fit and finish vastly superior, screwed together just as well as an American Std, but not as top drawer components. But overall package is great easy play and they sound good. But with the Mexi its like they want maximum profit rather than caring about the product. I felt that when I played they just didnt seem responsive, alive if you know what I mean. I won't hesitate buying a US jazz or a Squier classic vibe / Vintage mod off of one of the internet retailors. Not something I have have ever done mind. The quality of the US new production (last year or so) is now very very good. They play fantastic. Having said all that the Road Worn Mexi jazz that I played the other week was fantastic but they are nearly a grand............ they should be!

[quote name='Hobbayne' post='1307572' date='Jul 18 2011, 10:57 AM']How very dare you!! Something tells me that its been many a year since you locked yourself in your bedroom, with your mums littlewoods catalogue open at the womens underwear section and a box of kleenex! [/quote] Haha Nope I got my own hardback Next catogue now............. you must always move on and yes you are right I will never grow up ha ha ha even though I am nearly 40......

Had a club gig in London on Sat night 7 bands all the bass players had Jazz Basses amongst other guitars weird........ Anyway after it was over a chat and a few beers ensued.... and the obvious showing of wood ha ha ... basses We all had a play of each others guitars, present was an old '60s jazz owned by some old geezer, two squier classic vibes (white ones) a smattering of USA moderns, my late '80's fender jap jazz, and two mexican fenders. We where all astonished at the classic vibes, the quality fit and finish were amazing and you can tell the components used are of a good quality, the 60's jazz was sublime of course, and everyone liked my Jap jazz. Americans very consistant quality, really nice sound real easy play and they have mojo. But the two mexican jazzes, i guess they where around 2000-2005 production, the fit and finish were terrible, the control plates pickguard where just not very neat, the paint on the body and neck just no where near. They played ok as they had been properly set up but they just had no mojo... dead. But those classic vibes really felt alive amazing... Summary from this I just don't think the Fender std mexi are any good, I played a road worn and the 60's mexi and they are good, but you can either save £200 quid and get a classic vibe or a VM or save and get a USA jazz or a non export Jap. Of course different sounds from all, modern or classic if you like but I am really talking about the quality...... Discuss!! ha ha

[quote name='redstriper' post='1298242' date='Jul 9 2011, 02:29 PM']They are thin vintage frets as fitted to the old Fenders which came with flats as standard and now also fitted on the American Vintage and Mex Classic series. Rounds will obviously wear them quicker and I suppose they won't last as long as jumbo frets but I wouldn't lose any sleep.[/quote] Vintage dunlop 6230's The best, i.e. Fullerton Jazzers and old Jap Jazzers, not into these new fangled jumbo jobs they slow yah down ! loving these squiers the classic vibe '60s and the 3TS sunburst rose wood vintage modified jazz these two are great guitars and for the money outstanding, IMAO they play much better than the Mexi stds. All the ones I have played, play great, and have had a proper fret profile and set up.If they did the CV '60s with a 7.25 inch radius neck, that would be a great real world gigging bass for me, not so expensive so it does matter if its trashed or stolen. I might get one even so, so I can leave my old girls at home for pubs and clubs and what not

[quote name='silddx' post='1275614' date='Jun 20 2011, 10:18 AM']Can't really see the point of bass amps and cabs, they are a pain in the arse getting them to gigs and in and out the van, people want to borrow them at gigs, rehearsal rooms usually provide backline anyway, they are almost never miced on stage, and they are very expensive.[/quote] I agree In my fair to middling world these days I hardly ever use any backline unless it's provided, very most I use a 2x10 with floor monitors. Most of the time I use a Sansamp and even an old funkilicous SMX preamp as these two cover most of what I do from rock to funk. Things are changing rapidly with noise. Even in most clubs and pubs with house sound, you only need a diddly combo, a lot of places I play in london with the 'project' band everything is provided, i just bring my bass. I think low power lightweight is probably the way forward, if people want the valve sound the future is things like the Ashdown LB30 (Yes I will get round to buying one!!), EBS, Brutus etc Its no hardship for the soundman to mic your cab and DI to get the colour. Just gotta talk to them. It amazes me though when I still see metal bands in pubs with massive stacks of marshall valve power, its more about image than anything else, they are probably running at 1 or 2 on the dial, pointless when they go up to 11.........

[quote name='dc2009' post='1247422' date='May 27 2011, 06:13 PM']Hi all, This is borne out of the need to properly re-set up my Warwick, who had a low B put on her for the first time in a year today, but I thought I could make it vaguely useful and generic, and if someone could provide a comprehensive list it could even perhaps do with stickying? Personally, the problems on my Warwick are; Truss rod needs adjusting (I have the tool just no idea even which way to turn it or why I should or should not do it). Nut/Bridge needs adjusting. There is fret buzz from the B, especially when played open, despite the fact that the action is quite high at the bridge, as it does not fully sit right in the saddle as the others do. The intonation is out on a couple of the strings (not by much), which way do the thingies in the saddles need to be turned for various pitches? Is there anything that can be done to make the B sit properly in the saddle? So how do I do all/any of the above? I've been shown some of them at some point, but am aware that getting them wrong can make things worse rather than better. And in a more general sense, what are the other main things to look out for when setting up a bass, and is there a routine/order/method that you would describe as foolproof and also the best? Dan[/quote] Best thing you can do is get it set up on a Plek machine, as it would have been when it left the warwick factory there are only three in the UK at Chandler's, Charlies place and another but I am sure someone will fill it in!! Sounds like the frets need a good reprofile, and once that is done a good truss and intonation setup. It will play like a dream then. Its an expensive bass, its worth spending a few quid on it to get it right. For the other reasons mentioned by other posters, I would never do my own setup on a warwick or any other neck through for that matter, its a big pain if you bugger the truss rods on them, and warwick ones are a little tempremental. Hey you just made me look in the back of the cupboard, I know there a 5gang streamer in there somewhere, maybe i will get it out ..............

[quote name='Paul S' post='1184492' date='Apr 1 2011, 11:39 AM']So, having had a serious chat with my physiotherapist, my wife (wh0 helps me in and out of the car with the gear) and with a smaller car on the way, I am reluctantly going to have to trade in my beloved Trace Elliot gear for something lightweight and more compact. My ideal bass Nirvana is currently from the AH250 GP11 mk V played through an 18" cab with a 2x10 when the mood takes me. Not the lightest of rigs I play in classic rock bands x2, both with loud drummers and 2 x guitarists, and I usually have the volume set just over half on the Trace head. Is there anything out there that is likely to sound similar? I am guessing TC Electronics - either the classic 450 or RH 450? - or Orange Terror Bass for the amp, but what cabs? I wouldn't begin to know. Or would a Promethean cut the mustard?[/quote] Don't forget the Trace, Try their new cabs they are less than half the weight, or check out basssyteme, www.basssysteme.de in Germany, they do Trace Elliot style cabs that weigh nothing even an 1818. Don't listen (ha ha) nothing sounds like your rig, a mark V is a rare and fine thing, especially through and 1818 2x10 combo, the earth really does move. Its bass you can really feel,but with great definition, most modern gear cannot come close especially, lightweight stuff, it does not have the current to push the speakers esp low down. But most people don't have the experience of your type of rig. I picked up a basssysteme 18" at musicmesse (BRB118NF) It was a one hander weighs hardly anything. They are quite pricey, But I know a few pro guys in Germany, that swear by them, they are so well made, you will only buy em once, they are also a smaller than the old trace cabs, but def have 'tha't sound, but with with higher sensitivity so a bit louder. I think a 18" (as speaker design has come a long way) is a bit overkill these days! have a look at; Trace 1518 or 1818 + 2104H combi or Basssysteme BRB115N or BRB118N + BRB210H You will get the same sound out of these, as your current setup i.e. big lows and good highs, the basssysteme combi is very light. If you contact basssyteme the owner Hanjo speaks good English, even if he says he doesn't, He was /still is quite a famous player in Germany, Like speaking to a German John Paul jones haha. If you say what you have and you want something lighter he will provide a solution. If he doesn't he will probably build you something he is a bit of a nutter / obsessive, just like all good equipment suppliers are. But don't get rid of the Mark V, head you will regret it.................. Cheers D PS Or if you want somthing English made also check out the Ashdown cabs, Klystron cabs are quite light and defo make there presence felt esp the big 15

[quote name='bubinga5' post='1243260' date='May 24 2011, 06:52 PM']Ive had a few expensive basses and now im playing a 21 year old MIJ Fender Jazz..Although im playing through Aguilar amps im the happiest ive ever been... there are so many great basses that sound awsome and play very very well.. like Rob said... its if your happy.. instruments are so subjective to the individual player... different strokes and all that.. and knowone cares what bass your playing.. only you[/quote] That era jap 62's reissue jazz is a good 'un though! so well made, quality and action top notch, out of all of my bass's my CAR 1991 '62 reissue is my fav bass and I paid £250 quid for it.

[quote name='dan670844' post='1235772' date='May 18 2011, 02:42 PM']If you want a sensible explanation of the finger per fret 1234 1 2 4 etc and how to do that near the nut (where you may have to stretch some depending on the size of your fingers) There is a guy called Dave Marks (bass player) on Youtube. All its about really is not stretching to much and not making your hands do things they were not designed to do. The first 5 frets on a bass you should not really do one finger per fret as it puts a lots of stress on the tendons in your hands. There is an easy technique you can do to cover the low end. Also try to keep your rists straight, a lot of people have to give up playing, as they damage their tendons as they don't follow these rules. He will explain it better than me ha ha Being a bass player you have to look after your hands, this is the most important lesson anyone can ever teach.[/quote] Haha my last post. This is how I would do it 1/ Learn how to hold the bass fret and pluck properly so you don't get any injury 2/ Learn a few tunes as I described try using your ears but use supporting literature thats freely available on the internet if you get stuck this is a fun way to get you moving around the board. 3. Learn apreggios the notes that make up chords, then you will start to have a pallette to weave yah lines i.e minors majors 7th etc 4. Learn the time sigs, work out how to count out and work out the structure of a tunes, so you know where you are. I guess you already know this 5. Learn scales and modes and how to apply them to progressions and chords see the patterns across the neck? 6. Work with a drummer drum machine to hear what the drums are saying and how to intereact with them I.e. Kick usually beat one, Snare, high hat etc. this is your rhythmic palette to create your line 7. Learn about anchors pivots and lead in's to make interesting lines to express movement, dynamics in a piece. 8. Listen to lots of music different styles you will begin to really here the power of the bass 9. Learn about playing dynamics how hard to hit and when to do it to open up the dynamics of a song, never play flat, (dont buy a class d amp) 10. Most of this stuff is free available on the net you tube videos lessons check out dave marks , marloweDK etc 11. Have fun enjoy, always learn, everyone is always learning no matter how good they are check out john c mayer for his humbleness and good nature, the boy can play........ i.e. Don't become arrogant when you get good and jump so far down someone's throat (at any opportunity) so you come out their bum hahha. If you are in a studio with someone all day and night, on tour, it pays to be good natured and chilled, if you don't you never get the good jobs................................................................................................ ................................................................

[quote name='squillybet' post='1231946' date='May 15 2011, 01:40 PM']Hey Guys and Gals! So Basically this is a plea for help (unsurprisingly!) I used to play bass a lot when I was younger and got pretty good (even if I do say so myself!). I then had a child and subsequently ended up with no time for playing in any form really. So I have recently decided that life without bass is pretty pointless now that I have some time to pick it back up, this is indeed what I'm attempting! The problem with this is that I suck... badly and where as before I started playing bass as a favour for a friends band so was just learning all of their stuff, I've now decided I'd quite like to do this properly but I have no idea where to start! I taught myself last time but without a band I just dont know what to do with myself! Any Ideas? Cheers Sarah (also I'd like to say that my new favourite smiley is <he makes me happy!)[/quote] If you want a sensible explanation of the finger per fret 1234 1 2 4 etc and how to do that near the nut (where you may have to stretch some depending on the size of your fingers) There is a guy called Dave Marks (bass player) on Youtube. All its about really is not stretching to much and not making your hands do things they were not designed to do. The first 5 frets on a bass you should not really do one finger per fret as it puts a lots of stress on the tendons in your hands. There is an easy technique you can do to cover the low end. Also try to keep your rists straight, a lot of people have to give up playing, as they damage their tendons as they don't follow these rules. He will explain it better than me ha ha Being a bass player you have to look after your hands, this is the most important lesson anyone can ever teach.

[quote name='Doddy' post='1234064' date='May 17 2011, 10:50 AM'] Don't find the tab. The OP says she want to learn 'properly',in which case if you are going to learn songs,listen to them and get your ear together. If you are going to read,ignore the tablature and learn to read music instead,while you are still in the early stages of learning.[/quote] In that case only a teacher can help to get the right fingering etc , I too hate tab, ear is everything on any instrument, reading is good also I concur, but not absolute unless you are going to do it for a job. Just for the record I can read ( I learnt the the trumpet first) if you would care to read my post again I said you can use it for guidance, but I did say use your ears,I said this as most people don't read and if they get stuck early on its ok to use, no one is gonna burn yah. All very well saying read but a lot of popular music is not available in STD as its pointless writing out a whole load or roots and fifths's in Std notation 'ala rock etc. Who's gonna turn your page while you churn though that! if you reach a certain standard, most things are entirely predictable as far as bass lines go for a lot of music and a few minutes listening will put you right for the bits that aren't. Of course there are exceptions. Std notation is great it teaches you the notes the emphasis and dynamics of a piece of music. Everything has its place. But you have to start somewhere listening to music and working it out with bass in hand, using a few aides, is the fastest way to learn and most rewarding way as you can chart your progress. The best way are lessons of course but at £25+ per hr not everyone can afford them and finding them at time thats suitable is also very difficult. These days you can get decent books, look at lessons on the internet its free! and its at a time that is suitable for you.

[quote name='squillybet' post='1231946' date='May 15 2011, 01:40 PM']Hey Guys and Gals! So Basically this is a plea for help (unsurprisingly!) I used to play bass a lot when I was younger and got pretty good (even if I do say so myself!). I then had a child and subsequently ended up with no time for playing in any form really. So I have recently decided that life without bass is pretty pointless now that I have some time to pick it back up, this is indeed what I'm attempting! The problem with this is that I suck... badly and where as before I started playing bass as a favour for a friends band so was just learning all of their stuff, I've now decided I'd quite like to do this properly but I have no idea where to start! I taught myself last time but without a band I just dont know what to do with myself! Any Ideas? Cheers Sarah (also I'd like to say that my new favourite smiley is <he makes me happy!)[/quote] I would get learning some songs that you like, get yourself something like a Korg PX4D, you can connect your bass and Ipod cd player whatever to it. Find the tab whatever for the songs at first then try to work it by ear and just play along, that way you can play when the kids are asleep, pref with a glass of wine, It works for me!. In combination with this look at the bass line and start looking a bit of theory, timings etc. You will begin to see the patterns, and why they are playing the note of the chords /scales and whatnot. When you look at tab try to look at it from the context of either a scale or an appregio, you will find it is so much easier to play as you will get the fingering right and play how the original player played it. You will find it easier to move around on the fret board if you do that. When you are listening to a tune in the car work, around the house, whatever, work out the timing /structure of the piece of music, count it out 1 2 3 4 one bar etc, you will see that most tunes are entirely predictable and always follow the same pattern, in, 4/4 (4 beats in a bar) for example Intro 4 bars, verse chorus verse middle 8 whatever. If you are listening to music you can be learning as with bass it is as much about the rhythm as the notes you play. Once you feel up to it get out there and play. If you learn in this way you will have purpose and you will be suprised how quick you pick it back up. Playing with other people not even in a band context just a jam session will get you up to speed very quickly, it will happen so fast you won't even know how you got there hahha! Cheers D

[quote name='Linus27' post='1231863' date='May 15 2011, 12:44 PM']WOW, just noticed Bass Merchant has put the prices up of there Fender USA Standard Jazz Bass from £899 to £1048 I was looking to buy one of these on Monday but probably won't now as I have just been outpriced They were the best price I could find but now this seems the standard price everywhere. Has Fender put the prices up again causing everyone to hike the prices up. Crazy money and I was looking forward to getting one of these [/quote] I have heard that fender have put price control on all of their products i.e. fender gretsch, squier, I think prices will be the same from all sources web shop or otherwise. many complaints have been lodged from the smaller dealers that they where priced out....... pants but there you go

[quote name='paul_5' post='1226601' date='May 10 2011, 07:01 PM']Sorted, swapped V4 and V5 over and voila, no noise. Whodathunkit?[/quote] Cool you solved it, i was thinking it was a ground loop, If it comes back it will def be this and you will need to ground lift the preamp a lot of preamps have this facility, usually a little switcher-roo on the back, if it doesn't have this you will need to use some kind of isolation transformer etc, but I would think your Peg-pre has one. Prob teaching yah to suck eggs and what not but studio stuff is usually pretty well isolated

[quote name='SimonH' post='1226580' date='May 10 2011, 06:50 PM']Hi - relatively new to this game (long time guitarist, now wishes he took up the bass years ago). Anyway, mate of a mate has this - Trace Elliot GP11 combo and I think that's an 18in cab - in his garage and wants to sell it. I might want to buy it, but he thinks it's worth £450 and I think it's worth considerably less, supposing it actually still works. I've scanned this forum as much as I can, and checked Fleabay archive... but this forum is the source of all that is wise. I haven't seen the rig in the flesh, but it looks pretty rusty and dusty to me. Can anyone help with id and value? All help much appreciated, all merciless ribbing and the like tolerated with a smile. Thanks! Simon H [attachment=79512:YPVS_bits_024sss.jpg][/quote] cool clean it up, it will work, even if it doesn't it will be a minor fix, you will get top dollar for it, they are bullet proof and all the internals are still replaceable, if its a 18" cab it will be an 1818 = mental rig, give your bass player a go in your band, he will be hooked, they have the most powerful deep rib rattle with amazing definition and clarity. Problem is they are just so heavy, big and so over the top loud. They cost a lot of beans new

[quote name='LawrenceH' post='1219006' date='May 3 2011, 07:03 PM']When doing sound I used to persuade bands using small guitar combos to use my amp stand to tilt the amps at their ears wherever possible. This normally meant they'd drop the amp volume right down AND be happier with the stage sound, giving a much better balance out front - it always went down well with those that could be cajoled into trying it. The midrange frequencies which give clarity to a sound are very directional from a 12". I do the same thing with my own small bass combo and it really helps.[/quote] He its not a new idea WEM where doing it in the 60's and also had double angled cabs with 6 drivers in but they didn't catch on prob didnt look cool even though they where most def better than all the other crap and the time....................

[quote name='gusthebass' post='1218092' date='May 2 2011, 09:40 PM']I've been looking through the forums here but haven't really found the info I'm after. I know watts are getting cheaper (and lighter!) all the time, but I'm thinking an efficient cab is rarely discussed, but makes a big difference. IMO I need less "loudness" when I've played with an 8x10 than with a 2x10 or a 1x15. I can hear myself better across the stage, and yet I seem not to be as "loud" as with a 2x10 Combo I regularly use - hey, even the keyboarder complained less! This could be due simply to the height of the speaker - nearer to my ear height so I turn it down - but I think that it's a lot to do with membrane area.. .. please don't bite too hard at that! And that 2x10 Combo is normally kickedback to point at my head- an HK Quantam. And along the lines of efficiency I've got 2 1x15s, one old 200W RMS from the 70s/80s, a large box, big front port, EV speaker, made by Craaft - and another modern (basssysteme.de) one that's really small (just larger than the speaker + tweeter), nice and light, also ported and 600W RMS(!yes!). BUT when I use the same amp into these, the big old beast is much louder at the same amp settings - and (as ever, you have to use my ears!) IMO a much better "Bassier" sound - which is why I play the bass in the first place. 'Course you can fiddle with the EQ and wind the amp up more, but I think it shouldn't be necesary to have to do that. I even made a 2 x10 cab with a transmission line system, so a bit over 2M of folded port to get my low freq. levels up.. but didn't really work. I know horns would have to be immense to help us bassers, so that's also out, unless you know different! So come on you brains out there - thoughts please. And if you're wondering, why?, I'm thinking a lot about getting a lightweight 8x10 (40KG) because of this - there's several speaker outfits over here in Germany all with pretty fanatical followings that seem to make good and lightweight kit- but really I'm meant to want to go small & light - so the industry seems to assure me.. never mind the family! Thanks in advance, I'm looking forward to a good discussion here - how about a list of sensitivity dB/Watt/1M specs for different speaker layouts & designs, but at a bass applicable 50 Hz or so and not the normally quoted 1KHz?[/quote] Hey Gus greetings from England, would be interesting if you could tell us about all those boutique cab builders in Germany, would be nice to hear from a players perspective. Thanks Dan

[quote name='Magnolia' post='1218522' date='May 3 2011, 12:57 PM']My current main bass has absolutely crap sustain. Its the Retrovibe Ricky copy. Does anyone have any suggestions how I can increase the sustain on it? Im gonna put it in for bit of an overhaul soon, so anything I can get done when its in?[/quote] Bridge looks pretty heavy on these, have a look at the nut its bound to be crap, bone or graphitex will sort it and compressing your signal will help to

[quote name='Count Bassie' post='1217126' date='May 2 2011, 03:19 AM']I know, I need to keep 'em both, but I need a 5-string and the cash flow says I have to let something go. I've found a real nice Ibanez BTB405 I'd like to keep and use, but I have to come up with bread. It's a realistically wise idea for me to have a 5-er. I also have other concerns I need bread for, like my kid's musical life, which is starting to bloom nicely... Trace heads: AH250GP12SMX... 90s pre-Gibson, was in a sleeve but it's now rack-mounted in a soft gig-bag. AH250GP11MK IV... early 80s, uv light, fewer features, but solid as a Sherman tank. The MK IV has a sweeter, subtler graphic eq than the SMX, but less the compressor and with the older power section it seems apparently not as powerful-sounding. Still gets loud though- you just have to turn it up more. The MK IV is maybe 1/3 or more again the weight of the SMX, but that doesn't bother me any. I'm scrawny-but-wiry, pretty fit for a 50 year-old bugger. The MK IV has had no significant issues at all in its lifetime, I don't believe. I also dig the simple layout, and the flexibility for integrating other amps, etc. Old-school style head. The SMX has had a few minor issues, but they did get in the way of playing... and I don't like to think about my gear. I have had to think about the SMX. But it sounds big and gorgeous... the dual-band comp, tube, pre-shape/eq blend and the eq balance are nice features to a great signal-chain... So what would you do- I mean besides keep them both![/quote] I would keep the Mark IV, they are amazing...... you can still get all the bits................. if you want some smx compress to give some more low end punch you could always get hold of a smx pedal, smx's are great but they are quite complex if they go wrong

[quote name='cocco' post='1216727' date='May 1 2011, 06:10 PM']Looking for new pickups for my jazz and i can't decide weather to go for dimarzio model J or wizard 84s, I like humbuckers but i also love the tone of jazz single coils, I'm considering ultra jazz and wizard 64s aswell. What would you do? I'm currently mostly playing a grabber.[/quote] After what you said 84's would be perfect, solid tone tight lows and uber punchy

[quote name='thodrik' post='1215473' date='Apr 30 2011, 02:46 AM']On the ABMs I have found the best way to avoid the 'wool' is just to turn the bass knob down and not go over the top with the valve drive. Not my favourite amps, as finding the sweet spot takes a bit of work, but I can always get a decent sound out of them. The ABM 500s are also really really loud! I still prefer Trace Elliot amps hands down though and consider the Ashdown ABM amps to be a step backwards from the Series 6 or SMX range. That said some people hate Trace Elliot so it is horses for courses really. The Ashdown valve amps look pretty cool though! Also as a whole the ABM and Mag ranges are good value for money, for both amps and cabinets.[/quote] Series 6 now you are talking! SMX compressor is great I still have mine that I bought in the 90's don't know how many gigs they have done, still going strong aside from a few jack plug replacements