alexa3020

Which fuzz?

WRT the price, there’s a couple of things that may be playing out here. 1. Do ashdown see this as replacement for the ABM 1200? The literature states “An increasing number of players have been asking if we can bridge the dual output sections of our ABM 1200 head. The new ABM EVO V answers that need for more power and dynamics.” If so 750w doesn’t seem powerful enough 2. where are they manufactured? I’d suspect it’s currently uk. If popular enough will they move production to prc & if so will the price come down? 3. Ashdown shop is pretty damn expensive anyway. Once the amp gets to the suppliers will the price decrease? can anyone remember the price when Abm 600 evo iv was released?

I see, probably safe to assume the extra dials are for a second drive section then!

Nate Mendel? I see the ff logo in the background

They also posted this image yesterday Ashdown enigma?

I have mixed feelings: it’s pretty expensive at the moment although I’d expect the price to drop once the product matures. On the front end everything looks identical to the evo iv apart from the extra vu I may be on my own here but I liked the blue panel (must be getting old - don’t like change!). The proof will be in the performance though 750w of class a/b power - should be monstrous! I’m sure the more technically minded will pick out some other things! I don’t think there’s enough for me to change from Abm 600 evo iv though - but let’s wait for the reviews and see!

There’s a new kid in town https://ashdownmusic.com/products/abm-evo-v-750?_pos=1&_sid=83358b1f5&_ss=r

I’ve got the holy trinity (p, j & stingray) I’ve had my j for 22 years. My p for 4 years and my stingray for 2 years. if I had to choose one it would be the p. It’s odd really - it has a fat neck which I’ve come to love, and doesn’t jump out of a live mix as much as the other 2, not particularly versatile either. I didn’t love it straight away either - it’s been a slow burn! I have too say I adore the j and the stingray too

So why not high pass at 50hz as a default? Is there no benefit to reproducing those frequencies even if they aren’t accurate or at high volume relative to the overall volume? I certainly hear something if I boost my eq at 40hz

Ah right. That’s interesting and sort of making sense - perhaps we feel the fundamental of an e or b but hear the harmonic overtones. also I’ve played through a couple of cabs where the e feels weak - I guess some cabs are struggling to produce the fundamental. I guess as you go higher you hear the fundamental + harmonic overtones

So if a low E is 40hz and low B is 30hz and you are high passed at 50hz surely you are omitting the frequency of the note. I think I must be misunderstanding the fundamentals here

Thanks for the reply. what’s the purpose of allowing those ‘past rumble’ frequencies through? A bass cab on stage is never gonna reproduce those frequencies is it? would it be if you di out to a larger PA system that is capable of producing those lows?

I just wanted to check I’m understanding this correctly: essentially your amp & speakers are trying to reproduce frequencies that cannot be heard and cannot be reproduced accurately. The result of this is inefficiencies in the amp and for the listener ear fatigue. therefore products such as the thumpinator (specifically) & broughton hpf are available to get around this problem. Surely hpf should be included into the amp already if the frequencies can’t be reproduced accurately? Obviously some have adjustable hpf dials, but for those that don’t, they should ‘hard wired’ in at fixed parameters. That said I haven’t been able to find this data for individual amp models I’ve looked at (or is this frequency response ) plus, surely the thumpinator wouldn’t exist if hpf were baked in to the amp. Any help will be appreciated.

Correct, however if you wanna use the valve drive, you’ve got to crank the input gain

Notches are no problem when gigging, but notch 1 is pretty much too loud for home with a 115 or 210

I do like the sound of the big muff without the dry signal in isolation. I have found with that pedal though that it just gets lost in the live mix of a rock band. it’s sort of similar to scooping your mids - sounds great in isolation, but doesn’t work in a live mix

I’ve heard good things about the billy Sheehan pedal. Even more attractive with the option to blend signals

That’s interesting - These are not overly expensive new, and I’ve seen a few priced well secondhand. Perhaps worth a look I’d prefer a single pedal that does the job as I’m limited for space on my board - and I would prefer to keep using the nano+ if possible Ps the compressor will be updated at some stage - so that may free up some room

I’m currently using big muff pi on bass. I would say I’m fairly happy with the pedal but there is one major issue - the ability to blend in your clean tone. Without clean tone the bass tends to get lost in the mix. there is an option to add your dry signal. It comes in at the same volume as your original signal and you can match fuzz volume to it. This means the signal is too loud. So I’m thinking of a new fuzz pedal. A lot of which don’t have blend controls & im wondering, if I had a better fuzz pedal would it matter so much if there wasn’t a clean blend? Or is a clean blend essential? I’ll be interested to know what you guys think

I use a jptr fx jive really like it with a P Bass I’ll use the valve drive instead with a flat eq with my stingray

Here’s mine for Pbass shape off with a slightly scooped eq and some of the top end cut no valve drive (use an always on pedal for a bit of saturation - works really nicely with a pbass) Compressor and sub harmonic off also. this is just my starting point - it’ll really depend on the room how it ends up

Bought a boss TU3 tuner from Dave. Paid via bank transfer. No problems at all & great guy to deal with

I agree. Plus if you ain’t lugging your stuff on stage, your invariably lugging someone else’s (I.e drummers)

On the plus side, my oc5 came this week after 5 months of waiting