@Wasnex
Do you think the old TE V4 is similar to Ashdown CTM 100 and 300 models?
The voicing is considerably different IMHO.
The Ashdown output sections appears to be ultra-linear. The designer says the CTM300 is intended more for big clean power while the CTM100 is designed more to produce natural overdrive. Both use the same preamp.
The bones of the V-Type and CTM100/300 preamp circuits appear to be fairly close, but Ashdowns use different components values that make the tone controls extremely interactive (and quirky). I feel the CTM100/300 preamp has sort of natural bump in the low mids, less bass extension, and less highs. The lows are tight but a bit lean. My CTM300 is easily the darkest tube amp I own, but I have learned a few tricks that can brighten it up a bit. IMHO this amp should be great for rock as it's really a growly, snarly beast.
The tone controls are very quirky and can be frustrating...I suggest starting with them at 9:00 and adjusting up are down no more than two clock face settings (I.E. keep the tone controls between 7:00 and 11:00). Of course you can violate the 7-11 rule, but the results are less predictable outside of this range...or perhaps depending on the control nothing will happen at all, or you may get the opposite of what you expect.
On my CTM300 the bass control pretty much maxes out at 11:00. If you turn the mid control up past approximately 11:00 it swamps the bass and treble control. In other words if you set the mid control too high, the position of the other controls does not matter. The treble control is very subtle and sort of works backwards. All the way off is the truest treble. As you turn the control up it never seems to make the amp sound brighter. As the control approaches about 11:00 it seems to add a slight amount of mids. When adjusted beyond about 2:00, it starts cutting the extreme lows.
IMHO the CTM300 is an awesome amp, but it took me a long time to figure out how to work with the quirky tone controls. Also it is strongly voiced so you might want to try one to make sure you like it. Overall the CTM300 is capable of producing a wide range of tones, but it can be difficult to impossible to get the tone controls to do what you want them to do.
My CTM300 seems slightly louder than my vintage SVTs, and its considerably easier to move around because it is less bulky and lighter. Also the preamp is designed to be gainy, so it very easy to get preamp drive.
The series one V-types have pretty big bottoms, but they tend to retain focus and clarity. IMHO this is their standout quality and it is somewhat remarkable. Also, I believe they are significantly scooped in the upper mids. To my ears they have what many would describe as a HiFi sound about them. I really love the voicing, but IMHO these amps are not particularly transparent. They give you sort of super sweet, baked in tone that is wonderful, but can conceal some of the nuance in your bass's character.
The tone controls are not super powerful, but the are a lot more predictable and intuitive.
I would say the TEs are closer to the older Ashdown Dual Tube series the would include the LB30, Touring hybrid models, and the Small Block 427. As you may know, the LB30 was renamed the CTM30, and the current CTM30 Little Stubby is an evolution of that design.
My 427 is a bit woolly down low, but it sort of gives you the sensation like you are driving a big old Cadillac, or maybe a dump truck. To clarify, I gives me a feeling like I am playing in a huge arena and have massive power. Easily the loudest tube amp I have ever played through. Looser than the series I V-Types and not as big and round down low. I would say it's closer to my series II V-Type (V8).
The Dual Tube tone controls seem to have a bit less range than the V-Types, but they are more intuitive and predictable than the CTMs.
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