Dan Armstrong - Man & Guitars

The first thing to know about the AMB1 bass guitar is not to confuse it with Ampeg's earlier offering; the AMB-1 from the mid to late 1960^'s. The AMB1 was introduced at approximately the same time as its guitar brethren, the AMG1 which was 1996 - 2002. Below, I'm going to yield the floor (so to speak) to Mr. Bruce Johnson from the Talk Bass website who goes on to state...

"The instruments that you are looking at are the Ampeg AMB1 (no hyphen) which was sold by St. Louis Music from 1998 to about 2002. You probably know it already, but the AMB1 has no real relation to the Ampeg AMB-1 Scroll Bass, made by Ampeg from 1967-1969.

The AMB1 wasn't Japanese; it was assembled here at SLM's plant in St. Louis from components made by several subcontracting companies. The project started in 1996, when SLM was preparing for Ampeg's 50^th anniversary coming up in 1997. They decided to come out with a line of fairly faithful reproductions of several of Ampeg's classic basses from the 1960's. I got going with them developing a new version of the Scroll Basses, and Steve Azola got going on a new Baby Bass. Each of those are their own long stories. The whole idea was that these Classic basses were short term promotional things. Not really expected to sell well or become steady product lines for Ampeg/SLM.

SLM decided that they also wanted to bring out a fairly close replica of the Dan Armstrong Plexi bass from 1970. They initially looked for an overall subcontractor, but ended up building them in-house. They found one company to cast and machine the clear acrylic bodies, and another company to make the wood necks and they had Dan and Kent Armstrong make up the pickups. Dan was still alive at that time, but was semi-retired. I believe that he designed the pickups, and his son Kent did most of the production.

The new Plexi's (I forget what the official name was, offhand) were not an exact replica of the ones from the 1970's, but they were close. Some technical improvements, and some reviews said that they were actually better than the originals. The first prototypes just made it to the 1997 NAMM show, along-side my first two AEB-2's and Steve's Baby Basses. So, we had a grand old time at the big Ampeg 50th show in 1997.

After the show was over, the push was off on all three of the Classic Bass models. SLM took some orders for them and passed them to myself and Steve. The replica Plexi's didn't sell very well, which disappointed them because they had invested a fair amount of their own money developing them. They had pre-ordered a lot of parts. Sometime, I believe in late 1997, someone suggested that the Plexi could be a pretty cool bass...if they just got rid of the acrylic body.

That's where the AMB1 came from. They decided to make up a wood-bodied version of the replica Plexi bass. I believe that they had a different subcontractor (here in the US) make up the wood bodies. But the main point was to use up the extra stock of the Plexi necks, pickups and hardware that they had bought. Since the Plexi's just weren't selling. From what I understand the AMB1's sold better than the Plexi's, but still not well enough to really turn them into a steady production instrument.

I don't know how many were built, but my guess is 200 to 300. The last ones were sold off by 2002 or 2003. If someone knows more, please advise. I never owned an AMB1, but I had a chance to try one out once or twice back in those days. I remember seeing them occasionally at Guitar Center. Not really my kind of thing, but it was a nice bass. Good quality construction and nice sound. So, I can't help you much in finding one. But, that's most of the story behind them. Keep watching the stores and listings. I just wish they hadn't named them AMB1. Too much confusion with our beloved AMB-1's."

Seen below in what Ampeg's literature describes as the 'Amber Burst' finish, it features a beautiful maple quilt top. Every time I see this picture I get a kick out of the all blonde bass seen to the right in the background, solely for one reason, and that's the shape of its headstock, for it looks somewhat familiar to me.

As Bruce mentioned, these basses were assembled at St. Louis Music from outsourced parts. Seen above, left and right, the Wilkinson bridge is mentioned in Ampeg's literature (seen in the brochures section of this site) stating "The AMB1 features an original design, nickel plated high mass bridge, which allows a balanced tone and optimum single note articulation. Strings can be installed either from the rear of the tailpiece, or through the body which provides for increased sustain."

Another beautiful Amber Burst finish over the maple quilt top. Perhaps it's the lighting but this finish seems to have a very slight touch of reddish tint to it.

Notice how the black-white-black scratchplate curves around the pickups' height adjustment screw and like the guitar model it also skirts around tailpiece as well.

To give these basses a professional modern sound they equipped them with Seymour Duncan SMB-4D 'Basslines' humbucking pickups which reads in at 5.3k ohms. The electronics of the AMB1 consist of a master volume and tone control along with a mini switch for series or parallel connection of the pickup coils.

Sharp observers might have already noticed the addition of a thumb rest by a past owner - much like those on the Dan Armstrong acrylic basses - and positioned in the same location.

At left, another Amber Burst finish with yet another subtle color difference as this one has a slight orange tint. Again it could be the lighting, or maybe it's the actual wood. More importantly is the employment of what appears to be a different pickup that lacks the pole pieces and Basslines name. It is unknown exactly what type of pickup it is.

At right, and seen from the back, the colored ball-ends of the bass strings can be seen. Apparently the owner had decided to use the string-thru feature on his bass. Literature on this bridge states "The option of stringing the bass from the back, or using the string-thru design, bassists can choose between a fast attack or more sustain and higher tension." Because these instruments are short scale length (30.5") the thru-body design allows the use of standard 34" scale strings should one want to use them. Many bassists report that by stringing the instrument in this manner, it gives the bass the sound, or tone of a long scale model. Notice too, the Made in Japan label - as well as the serial number inked into the heel of the maple neck.

At left, Pearl Blue was another color option offered on the AMB1 basses. Seen here, it sports a 3-ply white-black-white scratchplate while at right one can see the ball end of the strings in the string-thru body ferrules.

At left, and seen outdoors the Blue Pearl takes on a lighter look. The enlarged view shows it with a full size Gator bass case, called a 'Rigid EPS Transit Series'. At right, the distinctive Ampeg 'a' adorns the headstock. Notice how the bass tuners take on the look of the Grover Rotomatic tuners that were employed by most of the Dan Armstrong acrylic bass models.

Above left and right, a Black Cherry finish was one of the options for the AMB1 bass with a maple quilt top. Seen here the color really 'pops' in its velvet lined case. The enlarged views show the Wilkinson bridge in better detail as well as the plastic silver control knobs.

Above left and right, an AMB1-PM bass that features a somewhat rare finish that Ampeg's catalog called Metallic Purple. Oddly, it appears to be a Metallic Pink to me. Even the strings are pink!

Seen at left from the backside it appears that the 3-ply laminate neck has a touch of 'curl' on it - meaning that at least some of its laminates, (and maybe all) are quarter-sawn. Ampeg's literature for these models state "a short scale neck carved from North American hard rock maple utilizes a select Indian rosewood fingerboard with 24 nickel/silver frets." At right, and like the Dan Armstrong acrylic models the AMB1 bass, as well as its AMG1 guitar brethren employ 3 strap pegs placed in the Dan Armstrong fashion.

At left and right, the 3-ply white-black-white scratchplate and truss rod cover can be easily seen.

At left, an AMB1 bass in what Ampeg literature for these instruments call the Black Pearl finish. Within said literature they also refer to these instruments stating "The Ampeg 'Crystal Cut' basses utilize a highly resonant Basswood body for extremely light weight (6 lbs 7.2 oz) and balanced tone.

At right, and again quoting from literature on these models it states "Utilizing the radical Ampeg neck joint, the ABM1 offers the bassist two full octaves of playing surface clear of the body." Notice again that the ball-end of the strings can be seen in the string-through body ferrules.

At left, one thing that is unique to this model is the scratchplate. Though it is shaped exactly like the other models in the line, it sports the distinctive faux-wood grain style pattern of the Dan Armstrong acrylic models. Seen better in the enlarged view, this model has a hole drilled in it up by the 4^th - or low E string, and one can only speculate that some type of single-screw thumb-rest was installed at one point.

At right, and seen from the back, and in the enlarged view the laminated neck shows some burl on it - suggesting again, that at least some of the maple (if not all) is quarter-sawn wood. The neck itself has what many call a medium 'C' profile. It's thickness (in inches) is .80" at the first fret moving up to .91" at the 12^th fret. The width at the nut is 1^5/8" and the fingerboard radius is 12°.

At left an AMB1 bass that's a little different than the one prior as it has a truss rod cover that matches the faux-wood scratchplate. The bass seen prior sports a 2-ply black over white cover. If I had to guess, I'd say the matching cover was stock. At right, the Black Pearl 'effect' is more easily seen, especially in the enlarged view.

As seen at left, in addition to the above models, Ampeg decided to produce 5-string versions of the AMB1 bass.

Seen here in a Teal blue color with a black scratchplate. This might just have been the 5 string bass that Mr. Tom Kruszka of SLM told me over the phone that he had hanging on the wall in his office many years ago. Though he didn't say it was Teal, he did say that the 5-string bass was light blue with a black scratchplate.

At left and right an Ampeg AMB1 prototype bass that's finished in what Ampeg calls a 'Metallic Seafoam Green' but the color looks closer to a light blue in my opinion. This one features a white scratchplate unlike the model seen above. Ampeg basses by SLM were normally short scale, like their clear acrylic basses. However, Twelve long scale basses were produced by FujiGen Gakki in Japan - for Ampeg during the SLM era to use in order to demo their Ampeg amplifiers to various touring artists that more often preferred long scale basses. Being prototype instruments, few, if any of these basses were exactly alike.

Unlike the bass further above, this bass sports a body matching headstock. It features a Maple neck with a rosewood fingerboard. It is uncertain what type of wood was used for the body, as apparently the control cavity was painted like the body. The neck seems a little narrow as the outer strings are fairly close to the edge of the fingerboard judging by the photos. This bass sports a Seymour Duncan Basslines dual-coil passive pickup with EMG active EQ. Volume, Bass, and Treble controls adorn the body, as does a series/parallel switch. The output jack is on the side of the body, in the 'Les-Paul' fashion. The neckplate sports the Ampeg 'a' logo. Further below, a black battery compartment cover can be seen.

At left and right, the AMB1 bass models feature a GOTOH combination bridge/tailpiece unit that's somewhat similar to those seen on the AMB models but wider in order to accomodiate the 5^th string.

At left, a black bone or TUSQ nut blends in nicely with the rosewood fingerboard while a finished matching headstock sports a white truss rod cover with the Ampeg brand logo. At right, five Ampeg branded tuning machines adorn the headstock.

At left and right, full sized images of this bass.

Above left and right, another AMB1 five string bass prototype. This one featuring a tobacco sunburst and, with the exception of the color, having all the same features as the model above. Including a neck that also appears to be a bit too narrow, thus making the outer strings very close to the end of the fingerboard and frets. About all one could do was raise the outer sides of the outer string saddles to help keep the outer strings inward and on the frets.

Like all of these basses, the 'Made In Japan' label, along with the instruments serial number is stamped into the heel of the 3-piece laminated maple neck.

At left, even the headstock is finished in a matching sunburst finish, while at right, the 3-piece laminated headstock reveals tuners with the Ampeg logo.

Above left and right, another 5-String AMB1 Bass prototype that was made in Japan by FujiGen at the time and features a somewhat wide grained body and sports an all natural finish along with a black scratchplate, pickup and trimmings.

At left, and according to Mr. Tom Kruszka at St. Louis Guitar Service this bass is equipped with active preamps, As such the scratchplate is adorned with three controls consisting of a volume plus a bass & treble knob. It is unknown for certain just how the mini selector switch works but one guess is series/parrellel switching of the coils given what looks like a Seymour Duncan 'BassLines' humbucker.

On the right, this bass features a 34" scale length 3-piece laminated maple neck. Notice the light areas in a few of the laminates, which are bits of 'flame' meaning the laminates are quarter-sawn for added stability and strength. The neck features a 'D' type profile and its thickness in inches is .8" at the 1^st fret moving up to .91" at the 12^th fret. The neck features a rosewood fingerboard sporting 22 frets. Like the other models, notice the battery compartment and the Ampeg 'a' which is etched into the neck plate. Photos courtesy of Mr. Richard Merriman.

At left the headstock, like the body, features a natural finish. The enlarged view reveals the three laminates quite easily. The nut width is 1^3/4" while the scratchplate matching truss rod cover has the Ampeg name blazed into it in white. At right, the unusual arrangement of the five tuners show what is obviously a replacement tuner. Judging by how perfectly the replacement 'Gotoh' tuner matches the factory 'Ampeg' tuners would seem to suggest the factory tuners were, in fact, a set of Gotoh tuners that had the Ampeg name slapped onto them.

At left, with the scratchplate removed and turned over, some of the 'electronics' of this bass can be seen. Notice a bit on the upper right of the photo that the instrument's control cavity can be seen, and which appears to be shielded, no doubt due to the active electronics.

At right, notice that unlike many of the Dan Armstrong styled instruments this prototype has its output jack mounted on its wooden side - much like a Les Paul guitar. Both images are better seen in the enlarged views.

This bass weighs in at 9lbs 4oz making it approximately 10-11 oz lighter than a Dan Armstrong acrylic bass. According to Tom Kruszka "This is a one of a kind proto that never went into production. Would have been the next generation of Ampeg basses and been labelled the 'AMB2' but they elected not to produce them. I have no other details other than I have a Teal Blue version hanging on the wall here in my office."