Once you go beyond the realm of beginners'/practice bass combos (the 10, 20 and 30 watt jobs), 50/60 watts is the point where you begin to reach proper stage-level amps. By and large a 30 watt bass combo isn't going to be loud enough to compete with a 30 watt guitar amp (you need that extra power in reserve to keep your sounds clean, as well as to make your lower frequencies more audible) and this power rating will, in most bands, see you nicely through medium-sized gigs.

It's also an ideal power level for recording (assuming you don't choose to use a direct-injected feed into the mixer from your bass) so, all in all, a 50 watt bass combo is a useful piece of equipment to have around.

That being the case, it's also one of the most crowded sectors of the market — nearly every amp maker offers something designed to fit the bill. Competition, hence, is particularly tight which means that there is a wide choice and quality should be high. Unfortunately, working against that theory is the fact that bass combos are notoriously hard to make. There is an inevitable compromise involved in getting the enclosure small enough to be portable whilst still getting a good bass frequency sound. Don't assume that one bass combo is much the same as another — as the song goes, 'It ain't necessarily so'!

On, therefore, to the Marshall Bass 60 (model No. 5506) which I've been giving a good 'seeing to' recently.

From a cosmetic point of view I have to admit that I fell for this amp from the moment I set eyes on it. I know I shouldn't be influenced by appearances but, contrary to rumours, I am human and, like everyone, I like things that look right - and the Marshall does. The heavy-duty wooden framework, the massive recessed side-mounted carrying handles, the sheer build quality — it's confidence inspiring in the extreme. You know, just by looking at it, that this amp is so well made that it will stand up to every knock and bang over the years and still deliver the goods. And that isn't just an illusion, either. On closer examination the Marshall is every bit as well made as it first seems. Four sturdy plastic corner protectors, tough feet, no flimsy top-mounted carrying strap and woodwork which guarantees a sturdiness that has helped contribute, justifiably, to the Marshall legend.

One pleasant surprise is that you don't need to be built like Tarzan of the Apes to move it around. Combos can often be more trouble than heads and cabs to transport but the Marshall, impeccably made though it is, doesn't seem as heavy as many bass combos — or is it just those fantastic handles which enable you to lift and carry it so simply? Either way I shifted it easily onto the front seat of my car when I picked it up, carried it upstairs with no strain and have moved it around without the usual gruntings and groanings which accompany my experiences with hefty bass combos.

"THIS AMP WILL STAND UP TO EVERY KNOCK AND BANG OVER THE YEARS"

Facilities on the Marshall are elegantly straightforward. The back panel of the transistorised amp section just features a simple standard I.E.C. mains inlet — everything else is sensibly placed round on the traditional Marshall bronzed front panel.

A single input is followed by a very sophisticated control section. This affords a sensitivity control, a 'contour' pot and then an Eq stage providing cut and boost across four well chosen bands (50Hz, 400Hz, 1 kHz and 10kHz). Following these comes a single volume control, then three jack sockets, marked for effects send and return and D.I. output. This latter is intended either for slaving-up the Marshall or output to a mixer. Just add the usual high quality mains switch found on Marshall amps and that's it. Now you've just got to find out how it sounds!

The first thing to understand before using this combo is that, like all good modern bass amps, it is certainly not just a guitar amp with a modified Eq section on it. Marshall have done a great deal of voicing research on their new bass amps and, judging by the multitude of professionals who use their equipment and regularly visit the factory, they must have had some considerable input here as this amp sounds absolutely superb! The Contour control is basically a form of 'loudness' circuit, as on many Hi-Fi amps these days. It appears to boost a carefully selected band of bass and treble frequencies so that, even if you're using the Marshall for a quiet recording or practice session, you can (almost supernaturally) get a sound from it that is remarkably similar to one being driven at full power — I know, I've tried it! The choice of frequency bands makes the Marshall astonishingly versatile in its tonal range. Also, and I know that parametrics and graphics are all the rage, this format is so easy to use that it makes on-stage alterations far easier to achieve than with parametrics.

"THE CHOICE OF FREQUENCY BANDS MAKES THE MARSHALL ASTONISHINGLY VERSATILE IN TONAL RANGE"

To begin with, the sensitivity control enables you to set the amp's initial gain stage to the ideal level. In this day of active basses for some and passive for others, this is a sensible move. I found myself using my Tokai Jazz Bass with this amp and I was able to set a perfect level with the Marshall so that I could get it peaking without overloads whilst still operating at the ideal maximum input. The amazingly wide acceptance level of the amp's sensitivity control also enabled me to use other basses, including actives, equally well.

The tonal section, though, is what really impressed me about this amp — or was it that coupled with a remarkably designed speaker enclosure? I'm just not sure.

Set with care, you can get an enormous range of sounds out of this remarkable bass amp. The bass lift is tremendous if you want it, but the Celestion 15" 100 watt speaker is astonishingly distortion free in that finely ported housing. Tweak up the top, remove some of the mid-range with the 400Hz and/ or 1 kHz pots and there's that luscious mid-free, somehow 'hollow', bass sound which is really great. On the other hand (yes, all you treble fans!) the top is all there too if you want it. On the face of it the Marshall might seem simple (and certainly it is simple to use) but all the sounds you could ask for are there - and how!

"ALL THE SOUNDS YOU COULD ASK FOR ARE THERE - AND HOW!"

I'm pretty sure that much of the credit for the sounds this amp can produce are due to the design, not only of the splendid electronics in the pre-amp, but also of a well thought-out speaker section. The Celestion 15" is aided by a sturdy cabinet (absolutely no rattles) with a tightly sealed wood back and two top front ports. This is an object lesson in bass combo speaker enclosure design, judging by the sheer meat and power the amp delivers.

OK, I admit it, if I walked into a store intent on buying a new bass combo of this power rating, this is probably what I'd walk out with. What I can't seem to convey, try as I might, is how thoroughly professional this combo sounds. It isn't one of your also-rans, it isn't a make-do job — it's got a power and dynamic range, a loudness with clarity and tonal range normally found in bass amps costing far more than the relatively low price (for the quality of the product) of an RRP of £210.34.

If you want a really fine bass combo around the 50 watts mark, capable of taking you through a vital stage of your career, then this is one to look at very seriously indeed. The price seems very fair to me and the sound? Just do me a small favour — try one for yourself, will you?

MARSHALL 60W Bass Combo Model No. 5506 (RRP £210.34 Inc.VAT)