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School me on Ashdown

#2
They are decent. Very old school kind of tone, they sound more Orange than Ampeg. Basically, British Tube tone is their jam.

Quality and reliability is a bit meh. Dependent on what model you look at.

Personally, if you aren't buying the CTM line, I wouldn't tour or gig a lot with it. Good practice and rehearsal amps though.

They do sound pretty good.
 
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#3
Interesting. I had an ABM head and I wouldn't compare its sound with neither Orange nor Ampeg. It has a love-it-or-leave it character of its own. To me it sounds like a more "rock'n'roll" version of that 90's Trace Elliot sound. It can get relatively clean but it's definitely not designed to sound "transparent".
The ABM cabs to me sounded like a budget version of newer Classic/SVT cabs.
 
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#5
My experience was that the MAG series sucked, seemed very underpowered although i don't see them in their current line up. And broke down a lot.
I haven't used an ABM for years or any of their tube amps but they do seem to be widely used with EU based touring artists.
I did like the RM amps I used, but last time I used one was an RM-500 and felt my TE Elf was able to be louder through the same cab.

Overall I find you can get a nice and usable tone out of the amps, but don't quite deliver the volume you'd expect from their power ratings. I dislike their cabs very much and feel they are not efficient enough.

The best Ashdown I ever used was a C112 combo as backline on a gig, was quite a pleasant amp and had plenty of power but I don't see the model in their current line up.
 
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#7
Disclosure: I've been gigging Genz Benz Shuttles for a decade.
That said, I've had several ABM amps and a C110-300 combo. I like their warm, fat tone. and usually used the amps with the "shape" engaged. I used them for a few years and never had a single failure. I have bought a couple of blown ones cheap and repaired them though. I only had the ABM Mini series cabs and was not impressed. The cab construction was fine but the drivers were not up to the task IMO. I still have a CTM30 and ABM500 EVO III that I use at home.

Originally, they were all made in England. Over time, manufacturing has been shared with China. My current ABM and CTM were made in China, have worked flawlessly, and are indistinguishable from the UK models. Neither has required any kind of rehab from day 1.
 
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#8
Ashdown amps can be solid, if you get the ABM versions (or otherwise "premium" line). The MAG line was essentially like the B(A) line from Ampeg (in the '00s). They are relatively more budget oriented than Ampeg, but they sort of target the same "thing". I don't particularly like the tone, but they don't sound bad at all. I did dislike the compressor and the octaver, but you can switch them off.

I used to have an ABM414T cabinet. 4x10", 4 ohm, defeatable tweeter. It sounded fine, like a fatter version of an Ampeg SVT410HE cabinet (it's ported but it's not voiced deep). It had its mid character in a different place but it appealed more to me (the SVT410HE can sound a bit honky, this could sound a bit dark, which was fine). It was extremely heavy and extremely cumbersome to lug around (really uncomfortable handles).

Ashdown amps, in a few words, are fine. They might not be anybody's dream amp, but they are more than serviceable.
 
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#9
gtirard said:
I live in France, never heard of Ashdown before joining Talkbass.

Are Ashdown amps good? Is there a "Ashdown signature tone"?

The specs of the Studio 15 for example are quite impressive and the price seems to be quite cheap, why don't we see these amps more often?
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They're british. Yes, they're good. Yes, they have a "signature sound" (it's scooped to hell, and full of bottom). But, you can turn that off with a push of a button.

Ashdown's like, the European standard. Like Ampeg is here in the west.
 
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#11
I've had a few Ashdowns. From my TV-room 25w, to some bigger stuff like RM800. No real experience with the tube amps, allthough I was trying hard to get a hold of a CTM30 stack in tweed for a while. So cool.

From my albeit limited experience with the SS heads; they're clean af. Smooth and clean and lovely. I used my RM800 with a fender rumble 410 & a 115, and I regret selling that off.
And I really like that they make a versatile line of amps. Everything from low wattage, all tube, to monster wattage SS. Havent tried any of their basses, but I've been told good things.
 
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#12
I’ve owned multiple Ashdowns over the years. Had a MAG series combo and extension cab for close to a decade. Never had any issues with it, but the tone was a little lacking.

Moved up to an ABM 500 EVO II, and it’s been incredible. The only issue i’ve had was the VU light went out but that was a quick and cheap fix at a tech. The ABM was used every weekend for 1 rehearsal and 4 services at our church in CO for a few years, and since moving to Nashville it’s been my touring amp. It holds up really well. Tonally, super flexible. It can be modern enough to get just about anything done (look at John Myung for example), but vintage tones are its strength IME.

I also have the OriginAl head for local rehearsals and gigs when i want to keep the weight down. The Origin series is more open and clean, but you can get the Ashdown vintage vibe with it. I wish it had a couple other features, but for the price it is solid.

People will cite reliability issues, but IME that’s sated information. Many years ago they moved some production to China and the first batches of those amps are what I saw having issues. That comes from working at a store that sold them, and from playing a few as well. After that, they gotn things sorted and I’ve seen very few problems. Also Mark and the team are very responding f something does come up.

I often get Ampeg and Aguilar as backline rigs, and they’re great. I do miss the Ashdown when it’s not there.
 
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#14
Jazz Ad said:
Ashdown amps used to be very common in France. They somewhat vanished though.
Click to expand...

What is the most common in France? Orange?

I ask out of curiosity. Here in America it’s Ampeg or fender for supplied Backline, they are the 2 big. In Canada it’s Traynor, their big brand. There aren’t as many European manufacturers for bass so I’m curious.
 
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#15
I have a CTM-100 with the American built 410 and it does everything asked of it, from continuous daily all day in the house to outdoors on the concrete for festival type venues. It is not my go-to rig but I love playing through it.
I also had a RM500 EVO-II and the ABM210 that were both solid and very loud, but ended up going with American brands for the sake of ease should a warranty issue arise in the future.
I like the Ashdown tone and it cuts through but it is not Genzler or Mesa. Someone above suggested it to be similar to Trace Elliot but other than Mark Gooday, I don’t pick up on any similarities. ymmv
 
#17
markjazzbassist said:
What is the most common in France? Orange?

I ask out of curiosity. Here in America it’s Ampeg or fender for supplied Backline, they are the 2 big. In Canada it’s Traynor, their big brand. There aren’t as many European manufacturers for bass so I’m curious.
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The biggest brands in France now, supplied in rehearsal studios are Markbass, then Ampeg and Fender (Rumble), then a few Hartke. For gigs backline Ampeg is first I think, then Markbass and Fender. I don't see Orange very often. Never saw Mesa or Bergantino anywhere.

But we also have other great quality brands in Europe, like Barefaced, GR Bass and Jad Freer, although they are not famous (I'm the only one I know who owns gear from these brands).
 
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#18
gtirard said:
The biggest brands in France now, supplied in rehearsal studios are Markbass, then Ampeg and Fender (Rumble), then a few Hartke. For gigs backline Ampeg is first I think, then Markbass and Fender. I don't see Orange very often. Never saw Mesa or Bergantino anywhere.

But we also have other great quality brands in Europe, like Barefaced, GR Bass and Jad Freer, although they are not famous (I'm the only one I know who owns gear from these brands).
Click to expand...

Cool thanks. It is interesting to learn this stuff. Markbass makes sense with Italy, I figured the UK stuff (orange vox trace ashdown) was more common on the continent but apparently not.

Seems Ampeg has the market share for bass everywhere in the world then.
 
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#19
markjazzbassist said:
What is the most common in France? Orange?
Click to expand...

Stands to reason

Screenshot_20240816-180948_kindlephoto-699734725.png
 
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#20
markjazzbassist said:
Cool thanks. It is interesting to learn this stuff. Markbass makes sense with Italy, I figured the UK stuff (orange vox trace ashdown) was more common on the continent but apparently not.

Seems Ampeg has the market share for bass everywhere in the world then.
Click to expand...
Trace Elliot used to be huge in France back in the days. They slowly dissapeared and never came back (except on Thomann's website) as far as I know.
 
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