Lozz196

Yes I’ve read that he uses, in his words, “wires” only for live use, preferring chromes for recording.

I don’t know which album it was but I read an interview with Nate Mendel where he said the producer got him to use flats on a Foo Fighters album for a slightly different (and probably almost unheard) sound.

I think they’re just about the perfect amp, light enough to carry about without any difficulty, incredibly versatile on sound due to the extensive eq, and the features as per @la bams post above. Nicely bridge the gap between the smaller Class D amps and the big all valve jobbies.

Pretty much the same with punk, bands with small amps & cabs are generally looked at as not being “proper” bands by the audiences and even some promoters, more like hobby bands flirting with doing it but not doing it right. I suppose it’s more to the fact that that’s what “proper” bands had back in the day so that’s what they should have now. I only ever heard one person actually voice such views but in the main (as in virtually all) the bands that headlined had big amps & cabs.

I went for the PRO17s, the selling point for me was the most natural sound feature, I didn’t want any bias on specific frequencies and think that’s spot on with these. Other plugs I’ve had have reduced the top end to the point where I couldn’t pitch for backing vox but no problem with these.

I should add to my earlier post, once Ashdown brought out their ABM PRO NEO cabs I bought a pair of the 210s and an ABM600 to match. The amp is something like 12kg which isn’t that much to carry about, and the cabs whilst only being 1 or 2kg heavier than my old RM cabs have metal grills rather than cloth, so more hardwearing. In one band this rig will be covering all of the sound the audience hears, in the other it will be stage sound only.

Sadly I’ve lost touch with Nige, but echo the sentiments above, he’s a really nice guy.

I had an Ashdown RM500 with two of the matching 210s, it was more than enough on its own for pub sized venues and on larger stages with FOH/monitors it handled those fine as well. Whilst I’m of course recommending Ashdown here my main point is that a 500 watt Class D amp and a couple of small lightweight speakers are more than enough for most gigs. Just choose the brand that the ears like the most.

Yep, let’s get a third up & running Wrote in jest for those not well versed in irony & sarcasm

I had one, think was the Digitech Drop, didn’t like it. I agree with the above, if those low notes are needed get a fiver (or another four but detune it).

But with the potential for promotion to fries!

Just this pedal, on overseas gigs so want to minimise the amount of gear I take.

Duff McKagan

It’s for overseas gigs, want to keep the amount of gear down to a minimum, in UK gigs mains extension is def the way to do it.

Ah, well it’s for my Ashdown OriginAL pedal. The one from EHX looks to be fairly long but they don’t give any specs.

Well engaging the Shape does add a fair bit of low end in, but yeah I’m not one for the reggae boom, doesn’t fit the music I do.

So I’m after a long (3metres if possible) 18v PSU, any ideas?

Mono M80 for me, Vertigo is good but I prefer the M80 due to being able to tuck the straps away.

Happy new year. Looking at the settings as minutes on the clock they’re: Shape Engaged B38, LM40, M45, HM55, T25 That gets me pretty near to my ABM sound, which is a scooped rock type sound. Should add, this of course is with a Precision which is fully loaded with mids so although might look uberscooped in audible terms it’s not as much as it appears.

I can get the OriginAL to sound very near to how I have my ABM600, it’s not exactly there but fairly close. Like most I don’t use the drive. I wish it worked from batteries as well as PSU though.

I can only go by direct comparison with my own gear that I’ve had and which I’ve got. My Ashdown RM500 is the weightiest sounding Class D amp that I’ve had, and I’ve had a good few to say the least. In comparison with my Ashdown ABM600 in pub sized venues in all honesty there’s not much difference to the sound, but put them on big stages and the difference is there, the weight & depth to the ABM is easy to hear. If it wasn’t I wouldn’t keep the ABM as the RM is a lot easier to carry around.

I’ve invariably found that the rigs I like listening to and playing through are made up of a lot of 10s, mainly either an 810, 610, two 410s or a 410 & a 210 together.

Awesome

Thanks for the tip, I got one today, first impressions are good, eq points seem to replicate what my Ashdown amps do quite well, plus on-board tuner makes for a good all in one pedal.

Def, an amp that size for backup or for flying gigs would be ideal