dagrev

I'm catching up.... I agree. I know sound people have to make it all work and most do great jobs with what they have to work with (including hardheaded musicians thinking they are in stadium), but at times it seems they have the same plan for everyone for the sake of ease. I once turned my amp and cab off (my main monitor), and walked back with a wireless and could not believe the thin poopy sound coming from my bass. After it was over the sound guy and were chatting and nicely talking about live sound and I was able to slip in, "You know, I've never had a sound person ask what I or the band wanted it to sound like FOH." Blank look of not knowing what to say. This is one reason years ago we would try to have friends from other bands do sound because they knew what we intended to sound like. Variables of the room factored in. I now send a slightly flavored signal via separate DI to the board and then let them fool with it. Oddly enough I was in a music store in TN (not Nash), just checking things out and a sound guy was teaching a class on sound, obviously, and I heard him say just use a plain DI with bass, micing a cab isn't important like with a guitar. I know there are some differences, but I stopped and just looked at the dude hoping he would notice my puzzled expression. I know it's a big debate, one I'm not seeking to start. But the disrespect the bass gets is truly amazing at times. But as long as the kick is louder than everything but vocals, all it well! (Sarcasm.)

I got my used ABM 500 EVO III recently to deal with two basses that were somewhat hallow sounding (pickup approaching the neck to much for me). After using the head at practice and live for a few weeks I can attest to this fixing my problem, and fixing it very well. The two basses sound better--one phenomenally better and even a few that didn't need "fixing" sound as good or better than with my Ampeg all tube head. The bass I used at rehearsal sounded so good Wed, I used it this weekend. It was not a really a problem bass and was decent sounding, but via the ABM it was amazing. I only wish I had looked into Ashdown years ago when I took an old MAG in as part of a trade. I knew I liked it but never looked into them much further and traded it. I was in an Ampeg frame of mind back then. Still love my Ampeg heads, but the ABM is working some magic they can't pull off.

There tends to be some similarities that Ampeg amps have, yet each model (and often year) can still sound different. I have three Ampeg all tube 100w heads (two varieties, one similar to an SVT and the other a reissue of the 70s V-4B). I have has two other Ampeg hybrid heads (3Pros). I currently have two pretty different Ampeg cabs (Heritage 410 and Reissue 212. All of that sounds pretty different from each other. Some similarities? Yes, some. Yet often when people thing Ampeg Sound they are thinking SVT or old Fliptops. Those don't sound alike. There is no way I would consider an SVT unless someone else was moving it for me. The weight it too much and that kind of volume is hardly ever needed, especially with any PA support. I know a guy who plays sold out stadiums as the headliner with a 45w head and one cab. They use wedges and no IEMs and he can hear himself just fine. Huge amps are more of a want than necessity these days. There are a few exceptions, obviously. With my years of being an Ampeg guy, I have found myself really loving my Ashdown ABM 500. Same family of warm vintage sound. But very versatile. It can do vintage to modern. Worth a consideration.

Used to have an old Peavey 215. Great cabs. Like a fool I got rid of it.

It sounds like some of us were doing what Ashdown suggested, as I understood it. 1. Set your input as high as needed/desired. 2. Adjust everything else. But what PigBass said really sounds like the better way to go about it.

Thanks, I kind of understood that (how the tube and blend works, but the way you explained it really clicked and made more sense. Given what you said, I'm going about it wrong. I'm setting the input first then blending the tube in, and adjusting volume and input again if needed. What you said helps my thinking. Thanks.

Thank you. I don't notice getting into the red with passive basses even with the input maxed, thus far anyway. I don't play very hard, so that no doubt is a factor. Haven't tried an active G&L yet. I was also not sure if not getting into the red when maxed was indicative of anything or typical. Even maxed, my needle doesn't get too excited (but that would have nothing to do with the tube). Thanks again!

Oh, no. Quite helpful, actually. Seems my settings don't appear crazy or out of the norm, so that's good to know. I thought I was needing to set things a good bit beyond anything normal.

Thanks much for the reply. The response isn't differences in volume, but amount of tube grit in the volume as it goes up in the 410. It is bigger and warmer, I suppose it could be the different voicing of each cab to some extent causing the variation in grit showing up and what it takes to get there. Are the input and drive settings above typical to achieve grit and breakup? Meaning I'm not turning those up more than others to get to breakup am I? Thanks again!

Question for ABM users. (If I should ask this as a new thread, please let me know.) I'm not sure if this is normal or not and need insight. When I run mine (500 evo iii) at home with an Ampeg 212 or a Fender 115 I can get some tube grind and break up more easily than when using my Ampeg Heritage 410 live. At home I still have to run the input at 3:00 or more and the tube drive at ~2:00 or mroe to get some grit, depending on the bass. When using the other cab live or at rehearsal I basically need to max the input and go to 3:00 or more on the tube drive. Just seems the grit is much less noticable and easily achieved when not at home and at higher volumes (but nothing crazy). Is that typical or is it possible the tube (Eden 7025) is getting weak? It's well over 10ys old. Could very well be as it should be, I just need the voices of experience.

Another Ashdown. ABM this time. I have been having trouble with a couple basses not sounding full with with my Ampeg tube heads. I always liked the warmth of Ashdown (had a MAG years ago I took on trade then sold). Used a RM-300 evo ii I bought used and that really helped. Was offered a great deal on an ABM EVO III and jumped on it. I've only had it a few weeks, but I love it. Big, warm and punchy. High praise from me since I strongly dislike virtually all SS heads, which seem to sound two dimensional. Ashdown has the only hybrid amp I've even used that isn't just a gimmick. I used the ABM with the '55 Pbass (w/SIT Power Wounds) last evening via Ampeg Heritage 410. It was to the fantastic level. The '55 never sounded so good. I'm still learning what to adjust on the head, but after a couple songs, I had it about where I left it the rest of the night. I can't emphasize how much an improvement it was for that bass. I was super impressed and wasn't expecting anything like that kind of amazing tone. So far I have only used the ABM with the two basses that were troublesome, so I'm really curious how something like my '64 Thunderbird will sound with it. I'm not sure how it can be improved upon since it didn't need any "fixing," but who knows. Maybe even it can sound even "more betterer!"

Just my thinking. I have an older RM-300 evo ii head that's no longer made and it's really loud. It's overdrive is nice and doesn't sound fake unless you really crank it, which I don't. My ABM is 500 evo iii is plenty loud with an efficient cab. The original owner replaced the tube with and Eden 7025 which made it warmer and less harsh and fizzy. Sounds good to me--and significantly better than the RM-300. As for more more the more watts aspect. I have yet to ever need huge watts in decades of playing. But I have almost always played with reasonable people who weren't in a volume urinating contest. In fact, I know a guy (not know of), who plays stadiums and sold out shows around the world in an headliner act every one would know. He plays those stadiums with a 45w head and one cab with two drivers and he can hear his amp just fine. And, they use wedges and no IEMs. He does get some in the monitor but he can hear his amp and cab. It can be done. (No intent whatsoever to diss anyone with huge wattage amps.) All that to say, if you love your head, just add something like an overdrive pedal for a little extra grit. Personally I would not replace an amp I love that does what it's intended with more watts I may not actually need when a simple pedal would do the trick. (But I like new heads as much as anyone.) I'm not a "distortion" person, but do like a bit of OD. I have had a Genzler Four On The Floor for a while and love it. It mimics four classic amps (B-15 through ACC 360), and can go from clean to distortion if wanted. But it's perfect for a healthy touch of overdrive and compression. It's very natural sounding and doesn't sound like someone is playing a buzzsaw.