Friedman ASM-12 Arrives Today

Lenster said:
I’ve had my ASC12 for a couple of days. Struggling so far.
Click to expand...
I have the FRIEDMAN ASM-12. Before I purchased it, I heard some really positive reviews coupled with some negative reviews regarding it’s weight and a “dark tone,” which I will touch upon a minute. Regardless, I decided to pull the trigger, and to be honest I couldn’t be happier. I mean I really think this amp is absolutely awesome. At first, I was a little skeptical because there weren’t many options on the amp itself, except the low-cut filter. However, coupled with the Axe FX II XL +, the tones I am getting, especially for metal are simply unreal. I believe that’s because they ASM 12 has such a full body. Also, the amp is approximately 50 pounds, and is made of wood rather than plastic. These are important points for the type of sound you want. Some people say it has a dark tone, but I think that’s because it’s sitting on the floor so you hear more bass and boom. I simply put mine on a chair facing towards me and it sounds absolutely amazing, especially as I’m crafting my metal tones. I also want to say that handles clean tones beautifully. They sound nice and balanced. I know you were going for a different model, but have some confidence. IMO the ASM-12 is one of the best FRFR speaker cabs on the market compared to the other FRFR speakers I had a chance to try.

I wish you the very best of luck with your Friedman ACS-12. Just remember, give it a chance and get used to it first before making any big decisions. If it gives you that full body that the a ASM-12 gives me, then you’re in good shape.
 
Lenster said:
Not for me I've decided. Moving on. :-(
Click to expand...

Sorry to hear about that Lenster. When I was going through the agonising task of choosing a speaker/monitor solution for my AX8 I stumbled upon a YouTube clip (sorry, I've long lost the link but I'm sure you'd find it if you did a search) where the person was directly comparing ASM12, CLR, Mission and Xitones. I know that you can't really gauge the sound of any device listening to YouTube on little computer speakers or head phones. But it was the difference between the different products that stood out. It became immediately obvious to me why a lot of people love the ASMs because they have that big thump and sound more like an amp cab than any of the others. But that's exactly what I didn't want - I wanted a more produced sound, like studio monitors but at stage levels. The CLRS and the XiTones (the latter of which is not available in Australia although you can buy directly from the manufacturer in the States) really fit that bill and I understand why everyone raves about them. Unfortunately they were outside my financial capability at that time, and I eventually went with Yamaha DXR10s. I am so impressed and so happy with the Yamahas that now I'm suffering from 'buy more gear syndrome' again because I want another one to go stereo. I'm not sure how they compare to your Yamaha DBR12s but for me they're sensational.

Please keep us up to date with your quest for finding the right speakers for you, and good luck!
 
Last edited:
My sister just bought an AX8 and a DXR10. I’ll gave to ask her what she thinks. To me the DBRs sounded clearer more natural, it felt easy to dial in good realistic tones. The ASC 12 was a struggle from the start, for me, I basically had to rebuild all my patches from the ground up, couldn’t get close to what I’d had before, it was a tweakers nightmare for me. I do however understand why folks like them. I knew fairly early It wasn’t going to work for me.
 
I can't comment about the DBR12's because I've never heard them. But the DXR10s have a huge amount of bottom end (if you want it) which is easy to tame with the D Contour switches and/or the bass roll off switch. I would image that the DBR12, being a 12" speaker would probably have even more, which you may find desirable (the DXR10 has more than enough bottom end for me though)
 
Lenster said:
My sister just bought an AX8 and a DXR10. I’ll gave to ask her what she thinks. To me the DBRs sounded clearer more natural, it felt easy to dial in good realistic tones. The ASC 12 was a struggle from the start, for me, I basically had to rebuild all my patches from the ground up, couldn’t get close to what I’d had before, it was a tweakers nightmare for me. I do however understand why folks like them. I knew fairly early It wasn’t going to work for me.
Click to expand...
Lenster the "tweakers nightmare" comment you made really hit home and is exactly why I sent my Boogie Mark V back. I was in tweaker hell between AX8 having an endless variety of tweaking mixed with the versatility of all the possible sounds of the Mark V, many comments about the Mark V being awesome with patience and I didn't have it for both ends of the spectrum. I wanted something simple on one end of the chain and chose to have fun on the AX8 since I can sit at my PC dialing in the sounds I wanted, didn't want to fiddle on the Mark V too, I just ultimately wanted to mess with the AX8! I was really struggling like you shared here with getting both to play nicely. I'm real happy now and ordering #2 ASM12 soon. I hope you find what you are looking for!
 
Mixed the AX8 outputs to Mesa 50/50 in FX Loop pre Cab sim and the ASM12 in stereo this weekend and thought it was pretty awesome. Only thing concerns me is when I blended them I tended to lean towards the sound coming from the Boogie side. Don't know. It cast a little doubt on my love for the ASM12.

Hate to sound wishy washy as I was just raving like crazy about my purchase. Now I feel I need to put more time in on a different range of tones to give an "honest opinion."
 
So, you were leaning towards the Mesa sound? I mean, I don’t blame you. Mesa has a very distinct and respected sound. You might also consider that the two just may not blend well together- which is what you said you ultimately did, correct? Or did I completely misunderstand you?

If you prefer the Mesa side of things, then that’s what you prefer. It’s OK not love everything that everybody else does. They’re both two different sounds, each with their own characteristics. If you are unhappy with the ASM 12 then maybe return it but just give it as much time as you can before the return policy has expired. If it is expired already, then you can always sell it which would probably be a pain in the butt because it’s not a tiny little piece of equipment. However, there are many websites where the customers come to you.

I actually love the ASM 12 because I have a very simple set up now. I’m not using a power amp, because the ASM 12 has powered speakers, so it’s the Axe Fx straight to the Friedman, sometimes using my TS 808. I think for me, I just prefer the Friedman out of the FRFR cabinets that I have had the chance to hear. I think the ASM 12 is more full-bodied and I like that tone. When I set up my Axe FX according to the natural tonal characteristics of the ASM 12, I get sick metal tones, and that’s before it even goes into my DAW. I also push the ASM 12 into other places that are beyond its characteristics as well. I believe that my preference comes the fact that it’s made out of wood, and has some weight to it. I also don’t exclude the finish on the outside of the amp as well.

The point is, if you found a sound that works for you, then good for you. I think the fact that you’re willing to explore different tones through the Friedman is a good thing. Just remember though, if a month from now you have this sinking feeling in your chest when you think of the Friedman ASM 12, maybe it’s just not the sound you’re looking for. I also think that although you are willing to explore different tonal options through the ASM12, at the end of the day you shouldn’t really have to be restricted to keeping a piece of gear that only works for a few tones.

My advice is simple. Continue to do exactly what you’re doing. Don’t let anyone tell you that you “should“ own this, that or the other thing. Also, don’t let other people tell you that one type of cab is better than the other, it all comes down to a matter of preference. Again, so understanding your ambivalence, if you have the time give it a few more weeks. You’ll know what to do.
 
Brian Greco said:
So, you were leaning towards the Mesa sound? I mean, I don’t blame you. Mesa has a very distinct and respected sound. You might also consider that the two just may not blend well together- which is what you said you ultimately did, correct? Or did I completely misunderstand you?

If you prefer the Mesa side of things, then that’s what you prefer. It’s OK not love everything that everybody else does. They’re both two different sounds, each with their own characteristics. If you are unhappy with the ASM 12 then maybe return it but just give it as much time as you can before the return policy has expired. If it is expired already, then you can always sell it which would probably be a pain in the butt because it’s not a tiny little piece of equipment. However, there are many websites where the customers come to you.

I actually love the ASM 12 because I have a very simple set up now. I’m not using a power amp, because the ASM 12 has powered speakers, so it’s the Axe Fx straight to the Friedman, sometimes using my TS 808. I think for me, I just prefer the Friedman out of the FRFR cabinets that I have had the chance to hear. I think the ASM 12 is more full-bodied and I like that tone. When I set up my Axe FX according to the natural tonal characteristics of the ASM 12, I get sick metal tones, and that’s before it even goes into my DAW. I also push the ASM 12 into other places that are beyond its characteristics as well. I believe that my preference comes the fact that it’s made out of wood, and has some weight to it. I also don’t exclude the finish on the outside of the amp as well.

The point is, if you found a sound that works for you, then good for you. I think the fact that you’re willing to explore different tones through the Friedman is a good thing. Just remember though, if a month from now you have this sinking feeling in your chest when you think of the Friedman ASM 12, maybe it’s just not the sound you’re looking for. I also think that although you are willing to explore different tonal options through the ASM12, at the end of the day you shouldn’t really have to be restricted to keeping a piece of gear that only works for a few tones.

My advice is simple. Continue to do exactly what you’re doing. Don’t let anyone tell you that you “should“ own this, that or the other thing. Also, don’t let other people tell you that one type of cab is better than the other, it all comes down to a matter of preference. Again, so understanding your ambivalence, if you have the time give it a few more weeks. You’ll know what to do.
Click to expand...

P.S. you are very fortunate to have a second ASM 12 to play in stereo. Are you taking advantage of that? Meaning are you using two different amp models and two different cabinets panned L/R that complement each other? I wish I had a second Friedman. It would be awesome to do what I just mentioned outside of my DAW.
 
@brian thx for taking the time for such a thoughtful reply.

To clear things up a little... I don't own (2) ASM 12 "yet" but probably will soon.

I was trying ASM12 in XLR out 1. And Boggie 50/50 output 2 through humbuster. BUT...the more I mess with the ASM12 the more I realize how awesome it is and if you read below you will see it really does put out sounds you may not hear in a classic guitar cab.

This may sound nuts but the ASM12 is bringing out a terrible issue that I didn't realize exists in my ESP Horizon FR II that I did not hear at all through the Boogie. I thought it was "fizz" but actually there is some setup problem causing the low E string to flub out or something doing a F# or G 5th chord (2nd/3rd position.) It's a TERRIBLE sound once you know it's there.

I've tried bridge height, truss rod... doesn't seem like I can get rid of it. Tried pickup height. My other guitar (ESP Eclipse Std.) is in "train wreck" status so I didn't even have the luxury of trying a diff guitar. Problem happens in dry signal (or unamped if I really listen for it) too so I know damn well its something with the guitar.

About the only other thing I can think of is that the floyd nut is sitting too low and needs to be shimmed a tiny bit.

I'm holding all my ASM opinions back until I get that addressed as right now I'm not qualified to have an opinion to influence others at this point!!!
 
No problem. It’s not crazy to hear certain traits come out of different speakers. I know this is not what you want to hear, but in some sense it’s almost good that you did notice this issue so that way you can straighten things out.

I was just thinking about your FR II issue. It’s good that you were well-versed enough to know that the sound was actually coming from guitar. The first question I have for you is how would you describe “flub” in your case? I don’t want to assume anything because then I would get the details wrong . Whatever the case, you did notice something with and without an amp, which mainly occurs with the F# and G5 chords. I wish I could help you diagnose the problem, but I can’t because I’m not there . You could be right about the nut or perhaps there needs to be some minor fret filing done...those are just guesses. Everybody says this, but I wish you can bring your guitar to the guy that I go to. This is his craft. This has been his whole life. He is so meticulous, noticing any potential issue that might be affecting the guitar. His work is outstanding, but he’s a little bit on the pricey side because of the quality of his work.
Do you have someone trusted that really does a good job with diagnosing and fixing guitars?

Does your current working guitar have EMG pick ups? I’m just asking because, I’m wondering if that’s part of the flub you’re hearing on the bottom end of things. I have some work to do on my Axe Fx presets today, so I’m going to pay extra attention to how my low E string sounds today when I palm mute or even just strike the string itself. I will also play 5ths on the last 2 strings to see if I here anything peculiar.
 
Thx a lot of times people dont see all the details.

My first reaction was OMG why is the ASM12 all fizzy when I'm trying to palm some low position 5ths.

Best way I can describe the flub is more springy/twangy that gets in the way of a free ringing note. I want to say its hitting the frets but even tweaking the action higher than I like it does it. That's why I'm thinking the nut is too low OR about only other thing is guitars both come with 10s and I like 9s so maybe that has something to do with it. I also read many times about how ESP guitars have many factory setup issues in many forums.

> Tried raising action
> Tried loosening AND tightening the truss rod (to see if either helped.)

I feel cursed. Both my ESP STD Series have been nothing but grief from the time I purchased them in the "setup" enjoying the guitar perspective.

The eclipse will not stay in tune whatsoever, the Floyd on the Horizon goes out of tune on any dive bomb. That's a whole separate matter and today I came into work so frustrated with my guitar I ordered a brand new satin/chrome original floyd.

What frustrates me is I bought the Eclipse back in like 2005 (4 knob version I think the Gibson lawsuit flavor) and battled with it ever since.

Talked to a guitar tech here locally who feels it needs a fret levelling due to all the random places it buzzes out even with moderately "high" action. Right now I hate that guitar and it cost me like $1500 new.

The Horizon FR-II was a dream purchase for me paid outrageous money +tarriffs from UK for the Europe model with SD passive pickups around 2010. I think that thing after tarriffs was almost $2600.
Well... both those damn guitars came setup terrible and all the tinkering I know doesn't seem to help.

You are right about finding someone local to just work on them. I did bring the Eclipse in for service and got it back and realized they tuned it and didn't do "JACK"... never went back to that guitar store.

Regarding the "flub" the best way I can describe it is that if I pick "extremely close" to the floyd saddles I can mitigate the buzz/flub/twang that kills the chord and produces a fizz sound in the middle of the note when distorted. When signal is dry its easy to hear as just what it is... a string not ringing freely.

If I pick anywhere in the sweetspot while palm muting the twang/flub/spring happens.

The guitars are the start of the signal chain. Don't think I'll ever be happy (AX8 > Speakers) until I correct that aspect.

I do want to say I'm pushing 50 next month started playing in my late teens back when Ride the Lightning was fresh Metallica... so a LOT of my PAIN comes from being stubborness in letting someone else work on my guitars when I feel I've got enough time to know how to set them up. Apparently "I DONT"... or I'm just "THAT" unlucky to get two supposedly high end guitars that SUCK.

LOL
 
Find yourself a guy. Once you get one that knows how to set up, adjust the truss, even the frets you’ll be amazed at how new that guitar will feel and play. Stay away from young Guitar Center employees...no offense meant. If the flubbiness persists EQ it out. Your gonna have an education about EQ using a Fractal and FRFR unit. It’s part of the evolution.

I’m close to 50 and come from the same music genre. I used to do all of my tech work (right or wrong). I just don’t have 3 hours of time to do it and gamble that I’d do it wrong. A couple of weeks ago I bought a treble bleed kit with the intent to install it on a Floyd equipped guitar. I know I could’ve done it but it would’ve taken ALL night because I’d have to take the pickguard off and all the strings at once. Then the headache of balancing my Floyd. 40 bucks and two hours with the shop I took it to and done . I’m at a point in my life where my time is worth more $$ to me. I’m sure that will change once the kids grow up and out of the house. Life is a bitch owning guitars, Fractals, amps ...... I wouldn’t trade it.
 
Good points! All of them.

I hate the whole floyd setup from scratch too.

So I did mess with it some more and got it much better. Still going to find a tech. Especially since I have a new floyd coming.
 
Two days playing tag with mailman. Floyd shipped sig required USPS. Have a feeling I will be going to the post office and try and figure out how I actually get my package...LOL
 
So my new bridge came and installed/set it up last night... problem with the flub on the G/F# 2nd/3rd pos. is totally gone on my Horizon so happy. Guitar sounds and plays better than the day I got it.

Also completely stays in tune. I have no idea what was wrong with the last one. The flub issue and would not hold tune. I can go nuts on this whammy stays about 99% there...

I'm happy it wasn't "me" I swear after 30 years I sure hope I know how to setup a Floyd. LOL

Theories:
About a year ago I purchased all stainless replacement screws for nut, saddle, saddle block tighteners and I just wonder if those nut screws were not holding down the locking nut tight. Strings (especially B) would always go flat constantly. I have nothing on the flub though... no clue.

OMG: I know what the problem was now with the flub. It WAS me. When I got a brass sustain block I putt the saddles back on in any fashion I wanted and never noticed until LAST night when I tore apart the current floyd to get my sustain block off that there were numbers on the bottom of the saddles to compensate for the radius of the neck. Learn something every day. This was definitely a tid bit I did not know about the bridge design. Found this link:
https://www.guitartricks.com/forum/thread.php?t=31331

Totally sums it up that I probably had the wrong pitch angle of the string on the low E and prob sums up other oddities.

Not sure "how" extreme issues this would cause but I'm fairly certain my floyd was just fine and if I had put those saddles back on in the correct order things would have been fine.

Moral of story here is that if you throw money at something eventually you will learn something hahahaha I have no shame. Now I know the truth what was wrong. Only cost me couple hundred bucks :) at least bridge is spankin new and no oxidation marks from sweatin all over old one.
 
Last edited:
The numbers on the floyd are there to help keep the radius... if you set them all flat on a table the two highest ones in the middle and work your way out. you can get shims too to help if the radius of the guitar is different than the standard floyd 10".
 
Last edited:
dpeterson said:
The numbers on the floyd are there to help keep the radius... if you set them all flat on a table the two highest one in the middle and work your way out. you can get shims too to help if the radius of the guitar is different than the standard floyd 10".
Click to expand...
Nice thing is the old one has a few shims I can use going forward. I wish the light bulb went off the first time I tore apart the old floyd.. guess I know now. :)
 
You must log in or register to reply here.
Back
Top Bottom