Lozz196

Depending on monitoring it works fine, I did it with my Zoom B3 in my old band. I also found a lot of sound-people more than happy with this as there was less bleed from on-stage volume. Only downside is if you`re relying on venues sound systems for the monitoring, if not up to the job then you`re left with a difficult situation.

Well having had a Little Mark Tube 500 I can`t think that if you had both cabs connected to the LMT800 that you`d push the 210 too far - am sure your ears would give out before the 210, lol. But yes, 410 for bigger gigs, 210 for rehearsals and smaller gigs sounds a good plan. I find that when I do use both of my cabs it`s more to fit the size of the larger stages, and for the benefit of the added height of the cabs - I don`t have the amp any louder, but due to the increased height I can hear it better.

Difficult to say, in actual terms each cab gets the same amount of power - I assume both are 8ohm cabs - so the 210 is doing twice the work. That said I have an Ashdown ABM 410 & 210 set-up and it works fine, though for all but the biggest gigs I just use the 410. I`ve never needed anywhere near full power from my amp so I`m confident that the 210 won`t get pushed beyond its limits, and being the top cab I`d be more likely to hear that as well - I hope.

I`m unclear as to why there are PA speakers at stage-rear - backline for on-stage sound, PA for out front sound, monitors so band can hear vox. Don`t see the point of this. Can see why you might use 4 speakers out front, two floor standing, with two on poles/stands immediately above, but stage-rear makes no sense to me.

I suppose the high-end roll-off is only really a factor if you DI to FOH PA, wanting your stage sound going out there, it affects this a fair bit. That`s what I found, and one of the reasons why I shifted from Markbass gear. If however it`s only ever used as backline in pub sized venues then not an issue.

Well I`ve recently bought a lot of basses/cabs, yet another search to find the "right" gear for me. Now I`ve found it, have a lot to sell as a result. My bass needs are one black US Precision for gigging, an identical one for home use, a black Mex Precision for flying gigs, and a white US Precision for vids/backup for touring.

Yeah, good cymbals really make a difference to the sound of a band - in an old band of mine the drummer was pretty much like many of us on here, buying top range gear, and his whole kit sounded amazing. In fact our producer preferred our drummers kit & cymbals to his own. The cymbals just sounded lush, where I have heard some that sound like rotten tin plates being hit.

I try to, but am not that mobile so although it seems to me like I`m hacking around the stage at breakneck speed, to the audience it`s probably a slow-motion repeat of Bagpuss.

Sold as a lightweight cab maybe?

That`s not good

I had a Tube 500, ran it through a Markbass 410HR, sounded great. But in my time of buying and selling on Basschat whenever I`ve delivered or collected an item of gear and the buyer/seller has had their rig plugged in, and it was a Markbass amp into a Barefaced cab, that`s when I`ve really thought the amp shined. Markbass cabs tend to have a high-end roll-off, whereas the more flat-response Barefaced let the whole sound through.

Nice one, think that`s a real good move, if you gel with an instrument that much then snapping it up when available just ticks all the right boxes.

Yeah, and it was hearing your RM that made me get one. Ho-hum, something to keep the grey matter churning I suppose.

Yep, when I used 50 - 110s the sound was much deeper, but doing any runs or stuff like that, well they didn`t stand out as well, really found that the heavier gauge strins suited a much more driving foundation style bass.

Cheers Liam, both helpful and really not helping at the same time, takes talent, that.

A mate of mine had some form of Behringer amp head, coupled with one of their 410s. He put his 70s Jazz through it and it sounded amazing. Sometimes science, design and cost don`t measure up to what just sounds great.At the SE Bash a few years back we did a cab shoot out, a couple of very inexpensive Maplin PA speakers being very surprising in their performance.

Play the instrument that feels most comfortable, if you`re already noticing the difference in your playing due to changing to the 5 string I`d look to get one of those exact basses. You might not be as comfortable on other 5 string basses, likewise you may find other 4 string basses easier to play than your I banez, but for now your hands are telling you that Jazz fiver is what they prefer.

Yeah, I keep considering going back to one of these as my backup amp and offloading my ABM1000. If I`m honest it`s purely the looks of the ABM that make me keep it, I like the sound of both amps but the RM is more practical as a backup, plus as an amp to rehearse with. Oh well, this thread has done me no good then, more gear evaluation to go on.

Nice bass, they really are very good, I had one for a while and it was just a great instrument all round, not just great for the money.

I`ve found that with Ashdown you have to work to get your sound, they`re not a plug in and play amp, you need to take some time to find what you`re looking for. But once you do find it, well from there it`s all great. My ABM600 is a cracking amp, much more flexible on the eq than the ABM500s I`ve had, and much louder too.

FUGLY ALERT!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Congrats, they are great amps. I`ve had loads of the Class D small amps but the RM is the only one that has the same weight and feel to the sound as larger amps, in my experience.

Well one may well be being put up on here over the weekend, watch this space.......................