BruceBass3901

I think this is sort of what they tried to do with the ABM EVO III 1000 and 2000 models, which had the ABM preamp with a 1000 or 2000 watt Class D power stage, making them a lot lighter than the standard ABMs. A big selling point when I saw these, particularly the 2000 watt model, was the clean headroom on them. These took on the previous normal idea of the ABM series with the "larger" version essentially sporting double the output capacity (2 x 4 ohm loads rather than just 1 x 4 ohm load). Both only got 1 iteration and were discontinued. I know a few people had them and really liked the lightweight ABM option.

Not my picture I'm afraid, it was from Ashdown's socials.

I should have something relatively similar to what you are asking in the near future, so I can provide an update. For an immediate idea, have a look at the custom white ABM 900s they did for Guy Pratt a few years ago:

Glad I saw this thread. Just reached out to the guys at Ashdown to check what is happening.

He did indeed, the MK500. 2 versions available; the standard ones had red faceplates, and then a series of limited edition, signed, gold plated ones.

Missed this originally, but the NEO 210 has been my gigging cab since 2015 and it is a totally stellar cab. Plenty of volume, nice and clean sounding, nice punch and can handle whatever I throw at it from my ABM 600. I was also interested in the NEO 408, and knowing there is one just up the road possibly for sale is interesting.

I use these on all my basses and find they are unobtrusive and don't make the strap rub against the body: Guitar Works Strap Locks May be worth a look?

This is the best option on the ABM. Also worth checking that the Shape button is pressed in (disengaged).

Thanks for the reply, I'll have to have a look. I'm also wondering if there is a way to keep my headphones connected to the Scarlett, but not necessarily have to use the Direct Monitoring mode. Does anybody have any ideas?

Hi everyone, I've had a hunt around and couldn't find a solution, which already makes me wonder if what I am trying to achieve is not possible/sensible, but I thought there was no harm in asking. I have a 3rd Gen Scarlett Solo hooked up to my pc (Windows 10 desktop) which I currently use to practice/play along with music as well as a general interface for my microphone (Shure MV7) and headphones. When I am practicing, I have just been using the Direct Monitoring button on the Scarlett Solo so that my bass is patched straight through to the headphones, and the rest of the audio is still present, however this sometimes means messing around with the audio levels for the music source or the master volume of the Scarlett a lot, depending on what else I have been doing recently. It also means that the only sound possible is the dry sound from my bass. I'm wondering if anybody can provide some guidance on a way I could use a DAW of some kind to be able to have a digital fader for the source audio and the bass input, so that this was a little more consistent when practicing? Bonus points if I can also record easily using this method. My only recording experience so far was using Audacity with my previous Ashdown TonePocket interface. Any guidance is appreciated.

Absolutely agree. We can but hope! Or rip one apart and clone it...

Apologies! I shall edit those to suit. EDIT: I see now they are already gone. Sincere apologies, totally thoughtless action on my part there.

Lovely to see another Hyperdrive user. Such a great pedal once you know how to dial it in. I remember the frustration I had with it when I got it, which led to selling it. About a week later, Ashdown released the video of James Lomenzo detailing how he used it and dialed it in, and I HAD to get another one. Really should start bringing my little pedalboard back, but not needed much in a ska band!

Now that would be telling... All I'll say is I'll still be a part of the ABM Owners Club, and not just because of my 900 EVO III 😉

The Dual VU is indeed the same amp, but designed for rack use and with input AND output levels being shown. Other than these, the guts are the same, so the same killer sound in a different package, plus built in Essex rather than overseas.

Really digging the style of it, but reading the blurb on the website it seems to be an ABM EVO-IV with a couple of controls shifted to pre-determined levels via the footswitch and some very specific requirements of the Taurus pedals. Obviously, this was designed with a very specific user-case in mind, and rightfully so for Guy, but this isn't jumping out to me as something to add to my rig over my ABM EVO-IV.

The Beat - Live at the Roundhouse

Absolutely love it! Pretty close to my ideal P. Only thing that irks me is how close the KickAss/BadAss bridge always looks to the back of the bass.

You take that back Merton...

Medium for Stadium Elites are 40 60 80 100. Standard is 45 65 85 105. With regards to the question at hand, tuning down, even a half step, will reduce the tension in the strings, and therefore the tension on the neck. This will shift things slightly, but it is hard to explain exactly where. Might be worth taking it back up to standard tuning, measuring the relief and string height, then tuning down and measuring again, just so you can compare. Seems odd that a half step would be making a massive difference, but the proof of the pudding is in the eating, as they say.

I used to play the Stadium Elites and loved them, then gave a set of the Ernie Ball Cobalt Flatwounds a go, just to give some flat profile strings a go. Really like the overall sound and character, but find the tension is a bit much. Has anybody compared the Elites Groundwounds to the EB Cobalt Flats?

You won't be disappointed with the upgrade. I ran an ABM 900 EVO III for a long time, but got an ABM 600 EVO IV and it blows the EVO III out of the water. Louder, punchier, fuller, more flexible... Everything I loved about the EVO III but more. Really hope you enjoy it!