dagrev

Yes, I do at times. Depends on my mood and the bass. I've found it has better results with different situations. On my old 500 III I use it more. Seems to make the sound bigger in some ways and brought some clarity. My new 300 is a brighter head by nature and I find I don't use it as much in the few weeks I've had it. (Not that I like bright, big, thick and punchy is what I prefer.) I didn't use it Sunday but one song, but I had never used that bass with it before and was more focused on if I wanted to EQ any. Time will tell how much I use it on the 300. I think the trick is to set it so there is essentially no volume change from it not being used, which I believe is what Ashdown said to do. I've had great results that way, but can see how it would not work well otherwise. In my case that's about 2:00.

As much as I love my Ashdown ABMs--which is a lot--I can't get away from the magic of my tube heads (Ampeg). Such a wonderful tech that still kills today. I know a person who uses a Bugera 100 guitar head for a bass amp. Sounds great.

That would be interesting, and a bit lengthy. Been an Ampeg guy for years. Don't forget about these gems. Sounds more like a 100w SVT than the V-4B, which is brighter and tighter. (I have a reissue of those as well.) These were initially a "V-4B Classic" then changed to the V4BH. First time I heard it in a shop I was in awe and it went home with me. I have two ABMs as well which work better with a few basses. It's possible one day the ABM will replace the all tube heads, but that day ain't today! But I do love those as well.

Thanks for the suggestions. A volume control in the effects loop seems an inexpensive way to this end. I can get one here for $29+ tax. Hopefully with that I can settle in one of the notches and be able to get a little grit without getting the volume too high. Worth a shot.

Odd question: How can I best provide some resistance to the output knob? I think my only beef with the new ABMs are the notches. I often find I need to be on the "hump" so I can get the input up where I want it for some breakup. I get why they are there. Handy in some respects but there is a big jump in volume from one notch to another. I was thinking of maybe a felt washer on the shaft to provide resistance that might help it stay on top of a hump and not want to go to one of the notches. If I were not pushing the valve it would not be an issue, but would like to have have that option if possible at lower output volumes. (I'm using my rig as mainly a monitor and some fill as I also go FOH.) Any thoughts that might help my weirdness (other than professional help)?

Very nice indeed! If I ever cross the pond, I'm rudely inviting myself over for tea. And while there might as well play though some of that nice equipment! Really like the Trace. I have a RM 300 evo ii and that will likely be sold and I keep the ABM 500 at home. Shipping on the RM will be much less expensive than an ABM. That's my excuse to keep the first ABM. I have way better basses (vintage) than I am a player. My theory is, if you can't play good you should at least sound good.

Yes, you should get an ABM! 😉 And be sure and post a pic! I recently ran across a couple very positive comments about Brimars.

Yes, completely agree and you make a good point and distinction. Tone isn't in the valve. I don't think it's really accurate to say a tube is ______ in the strict sense, though that's the common way of trying to describe the effect of a valve in applications. What a tube "may tend to often cause" may be a better way of actual wording. I completely agree that it's all the components and system as they interact together. (Kind of like a bass through any given rig will all bring about differences to some extent. Change one thing and the end result is different because of the interplay.) That the Mullard is warm was my lazy and quick way of saying "There is something about the Mullard as it interacts with other components facilitates a warmer tone." My belief with many thing is essentially, "Everything affects everything, and every thing matters." Some things matter more, some less. Some perceptible, some not, but it all affects other aspects of a system. My experience is the same as yours, especially in terms of noise. Different valves in different systems do behave somewhat differently in terms of outcomes.

Pardon if this is not quite the right place. After installing an old RCA 12ax7 in the new ABM 300 (which was great), I ran across a 1959 Mullard 12ax7A at a really good price. Couldn't pass on one of the gold standards from the Blackburn factory so I bought it. After some playing at home and one live use I can say the Mullard is very warm. Warmest valve I ever encountered. Very sweet sounding tube, shy on the highs compared to most. I love how it sounds in the ABM with one exception--I can't get it to breakup. Input and tube settings maxed. I don't like distortion, but do love breakup and some overdrive at times and I can't get it with the Mullard. It tested almost like NOS so I don't think it's a problem with the valve. One thing I liked about the JJ and the RCA was they both provided some grindy "valve-mids" that kind of filled in. The JJ maybe a tad too harsh and the RCA better for my tastes. The JJ was much brighter of the three and it's not supposed to be a bright valve. I'll have to leave the Mullard in to see how I get on with it with other basses. Maybe I'll get over having some breakup. Certainly warmed up the ABM even more. Much closer to my older 500 III. Anyway, maybe that will be of interest to someone--or no one!

Congrats on finding what sounds good to you. That's always refreshing and a joy when it happens. I found the new ABMs are brighter than my older III 500. I put a warmer old RCA tube in and that really helped. The JJ/Ruby was fine, but I'm picky. In fact I have an old Mullard arriving Saturday that will get an audition. The RCA will likely go in the 500. Unexpected wording printed on the CB is common so don't let that throw you. Note my 300 IV

I like it in that it would be lighter, but your point is valid about taking it around. I think I like what I'm used to and tend to prefer the looks with the case.

The EVO IV ABMs are brighter than the III I have, and for kicks I put an 1958 RCA Gray Plate valve in and it did sweeten it up very nicely. The Ruby/JJ was noticeably brighter (harsh some might say, depending on the cab), and just had a little less 3D texture to it in some ways. The JJ is great in the III and suites it very well, but the RCA was a very nice addition. Was considering a reissue Mullard and ran across a great deal on the RCA which was NOS and tested almost like new.

Look for a fuse getting dark. My 300 happened to have a one of the fuses getting dark. Now, that may have been a cause or a result of something causing the buzz. I once cleaned an old tube and it had a mum afterwards. At this point I'm at my depth on electronics. Hope you get it sorted out. Note the upper fuse.

New ABM 300. Quick ABM update. Got the new one yesterday. Much more quite. Very slight sound where you know it's on, but that's it. Nothing like the buzzing before. Just it time to grab it for rehearsal using the same Jbass I used Sunday for a good comp. Noticeably more mids (nothing honky), just more punch, and noticeably not as big sounding as the older 500 in the lows. A little brighter as well. More tube sound as well on the 300. Sounded great. I like big, thick bass so I'll have to do some different EQing, but will have to do so in a way that I don't cover up that nice punch. Normally I have the shape (scoop) disengaged and the bass may be flat or 1:30 at the most depending on the bass. I was more at 2:30 by the end of rehearsal. Great sounding head. Ashdown continues to impress. (Said the Ampeg guy who has now owned almost as many Ashdowns as Ampegs. Currently have 3 Ash, 3 Pegs.)

Update: Took the 300 to rehearsal to check for buzz. I noticed it. Hard to tell how loud with people talking, etc. Not loud, but still there, so I think it will be gong back. But, I will take the 500 over there tomorrow to compare before sending it back. The fans on those covers a little buzz and with the 300 having no fan noise, buzz is more apparent. Also a little louder on the 300 as well. Nice sounding amp otherwise. Not a big in the lows or all around heft, but it's got knobs and sliders to fix that. Sorry about the incorrect place to post this. At another forum where I'm a regular in the States, this is where such discussion would go, so my apologies.