DGBass

I've been following Miss De Tiger's career with interest since around the start of the pandemic. There's no doubt she has bass chops, and knows how to hold down a groove. I'm sure she will go on to greater things and is in my opinion an ambassador for young up and coming players.  Always good to see new and interesting bass players breaking through. Purely from a bass point of view, and regarding her signature model, its way too bling for an oldie like me, and a fairly hefty price tag for a MIM bass imho.  Back in 2020 she was playing an Ocean Turqoise American Elite Jazz, and some of the live sessions, and tab sessions she did really popped using that elite jazz bass. It may be a little pricey compared even to her new signature model, but I'd plump for the Elite Jazz in Ocean Turquoise every time. Just curious who the target audience might be for her new signature model. I think its safe to say her signature model has even out sparkled the Adam Clayton purple signature jazz🙄

2 hours ago, jezzaboy said:

Just a bit of info. The writing on the inside means it was serviced by our own @DGBass a man who knows these Ashdown`s inside out and who I have bought a few from myself. I imagine he would know some history of the amp.

I used this for a while before I eventually ordered my custom shop ABM 600 RC and I think thats about when it was sold on to the previous owner. A very loud, very clean and smooth running 575 watt example if I recall, and solid as a rock. It's a genuine 240V model and not one of the 230V versions. I've found the 240V models run cleaner and can be less prone to noise than 230V models. Not sure why. All new ABM's are 240V builds. This one also had a brand spanking new ABM EVO IV main pre-amp board fitted during lockdown, supplied by Guy Morel from Ashdown. It's worth as much as the asking price and means the pre-amp is very low noise and high quality. A lot of amp for the money, in a slightly bigger case. GLWTS. 

As any surplus gear moves on, the more adaptable and useable stuff that's keeper material begins to make more regular appearances. This Sunday's setup for an afternoon light duty gig was my regular Laney R210 4ohm cab used in landscape mode for the first time. Sounded fine and still very audible. Amp wise at present, its a toss up between the ABM and its backup OriginAL EVO. Both are more than sufficient for any gig, but the ABM just feels like effortless power, and quite capable of doing a low volume gig with a low power cab as long as I keep the master volume in check. A P-Bass is pretty much standard these days. 

Basschatters, ABM now sold. Other items still up for grabs.

Pay to play was rife in Central Scotland back in the 80s, 90s and early nougties. The Glasgow scene for originals bands was particularly bad. All the good venues like The Cathouse and King Tuts were stitched up tighter than a gnat's chuff if you wanted to play there. The format was usually three band nights, and sell a minimum amount of tickets before each band made anything. Tut's for example was pretty well organised though, and each band got a complimentary rider in the deal and a cool corner of The Blue Room to chill in pre and post gig, and to hang with the headline bands. A band I was in played with some interesting headliners. American rockers 3D House Of Beef was one band, and Swedish metallers Psycore were another. No idea what it is like these days since I've moved to covers bands that always get paid.

Just out of curiousity, does the Digbeth 500 have a tube in it? Or is it a tube emulation thing? 🤔

3 hours ago, DGBass said:

Mesa as an example don't quote a THD figure for the Subway D800 amps that I can find on their sales specs.

 

Actually they do, if you dig around in the support docs section. Just wanted to clarify that they do provide specs. Well done Mesa! It states 800 watts rms @ 4 ohms, 10% THD (includes preamp O/D THD) I assume that refers to the pre-amp O/D THD being inclusive in how they measure that spec?

Curious thought, it says 1100w at 4 ohms in the manual, but the website says:

Features

1200 bone-rattling watts of true RMS power!

I've no idea whether Peavey use a readily available class D module in the TE1200 but it sort of reinforces my suggestion that watts appear to be going missing between engineering and sales departments ☺️ The Elf definetly quotes 200 watts so thats something. I'm not knocking any particular amp brand or model of amp. There will be companies that develop their own in house technologies, and these are the companies that can use their own more detailed specs to market their products more convincingly imho.
🙂

11 minutes ago, Merton said:

Yes it does.

 

1100W at 4 ohms, 835W at 8 ohms, 1% THD+N is in the manual

Thank you.

I suppose in reality a THD spec is only a sales differentiator at the end of the day for some folks. I would never claim I could tell the difference between 1% or 5% THD, or 700 and 800 watts. I'm more curious why some amp makers quote one and some don't. And why Ice Power ratings are different from the finished products they go into especially when they are higher. I only mentioned Mesa as an example where there isn't a figure on thier website. It might be in the user guide though.

Some very interesting comments and points being made in the last few pages. Perhaps veering off topic slightly on occasion, but all still relevant to the general theme of small compact solid state amps like the Elf. Personally, one of the TE Elf's biggest selling points, eg its super compact size puts me off ever having one. The constantly running fan also has the thumbs down for me for use anywhere other than a gig. The diminutive size is however the spoiler. Any solid state amps i've ever used generate heat when in use, and the harder they are used the more heat. A very small case with limited airflow around the electronics is going to need a cooling fan, and even then its probably going to get hot in a gig situation because the fan is very small, especially if the amp is plugged into a 4 ohm cab and used to its full potential. Do ELF's get hot to the touch after a three hour gig? And if they do, I wonder how long it would take for them to suffer a heat fatigue related failure being used that way? I suppose the designers will have taken that into account, and someone will have decided an expected service life for a well gigged Elf. I have nothing but respect for Peavey in general terms, I've used a ton of their bass amp products over the years and if anything they have always been over engineered. That's why you will still find the like of 260C/MarkIII amps from the seventies still being gigged and still easily repairable.

Power ratings for class d amp technology has been mentioned and is something that intruigues me about how manufacturers market a product. Peavey have typically always been fairly open about power ratings, the Elf is quoted at 200w @4 ohms and also quotes a Total Harmonic Distortion figure of 1%.  Recently I had an Ampeg product qouted as 220W @ 4ohms 5% THD which if adjusted to 1% THD was around 160W. That's pure marketing imho. Ice Power modules are also a black art re- power ratings. The 50ASX2 BTL amp from ICE Power was mentioned. The manufacturer rates that 170W @ 4ohms 1% THD. I have an Eden Terra Nova which has this exact module and Eden sell the amp as 225W @ 4 ohms but no THD figure. The Terra Nova also has no cooling fan but is designed to have lots of air all around the Ice Module and a vented casing. Someone also referenced Ice Power 700AS1 modules being fitted to amps marketed as 800W. I have no doubts about Peavey's specs for the Elf, but i'm super curious how other amp builders squeeze so much extra power from standard IcePower class D stuff than IcePower rate their products can deliver at nominal voltages and in suggested operating conditions.  I'm sure there is someone who can explain where the extra class d power comes from once a standard module is fitted in a case!  Or is it all marketing hype? 700 watts at 4 ohms 1% THD or 800watts @ 4 ohms 5%THD?  Mesa as an example don't quote a THD figure for the Subway D800 amps that I can find on their sales specs. The TE1200 also doesn't spec a THD figure. Apologies for veering off topic slightly, and I'm guessing the great class d power rating and amp design debate has probably already taken place elsewhere on the forum. As @bremen mentions, a seperate thread about recent posts might be an interesting idea for any techies or curious BC ers. Are we all being diddled out of our watts these days?  I'm guessing most bass players don't care and just want to plug in and play. As a rule i've found its much more noticeable that a power rating may be not quite what it seems in small class d amps than larger ones. When you are talking about an 800 watt amp, no one is going to notice audibly if its actually only delivering 700 watts. In a 225W amp that is only delivering 170W that could be noticeable. From previous posts and praise though, it seems the Elf has honest watts coming out of it despite being so tiny, so well done Peavey for including a THD figure in your specs.

1 hour ago, Bassman Rich said:

The magnet is not quite the same size as on your Jenson spec sheet, about 130mm full width ot the outside of the magnet, as far as I can measure with a ruler.. 

Yes, OEM stuff can often be variations of retail drivers and as the vendor says, specifications can also change. Worth speaking to Ashdown about your RM cab. They are usually very helpful.

Basschatters,

I am having a clearout and all the stuff pictured has reluctantly got to go. Apologies about the top level price, I had to put something. Listed in order of price:

Cab - Gallien Krueger NEO III 1x15 front ported bass cabinet - still avaiable. 400 watts 8 ohms, Neo driver, variable horn tweeter and bi-amp capable with the later GK RB amp heads eg RB700/1001/2001. The original GK bi-amp cable is included. Owned from new, I've done maybe a dozen gigs with this cab and its in as near mint condition as can be. Works perfectly and sounds thunderous. Not being used since I sold my 700RB. Weight - 18kg. Collect in person only, cuppa and biscuits supplied.

 £250 thanks

Amp 1 - Ashdown ABM 500 RC EVO III - Now Sold. Made in UK version. Usual Ashdown ABM refinements and basically an EVO IV with two less sliders! This was my back up ABM but has never been needed, and has only seen light use since I've owned it. Very clean example and works perfectly as it should. Comes included with the current 2U pro rack case. May consider posting at buyers cost/risk within UK as I have a box to pack it in.

Amp 2 - Gallien Krueger Backline 250 BL amp head - Still available. Early made in USA version of this amp, 125 watts @ 8 ohms. Basically an earlier version of the RB 400 and air cooled instead of fan cooling. Wonderful sounding amp that I preffered to the RB400/700's that I have owned previously. Super quiet in use and has added features not found on RB amps of a second overdrive channel. Very giggable and particularly good as a home/studio amp.

Comes with its orignal super scarce cast alloy GK 2U rack ears for rack mounting. Also fitted with removable rubber feet for cab top use. May post at buyers cost/risk within UK if I can find a box for it. Please PM for more details.

 £125 thanks

Amp 3 - Trace Elliot AH150 MK4 GP11 amp head, circa 1984 - still available. Old school but good. Tremendous sounding amp that punches well above its weight and size. Still in regular use, mostly at rehearshals. 150 TE watts @ 4 ohms. Tatty externally, but very clean and mostly all original except for the new genuine (red) SITEL knob caps and the replacement input XLR jack . Everything works as it should including the ECI circuit. May post at buyers cost/risk within UK if I can find a box for it. Please PM for more details.

 £100 thanks

Would prefer pick up in person for all this stuff, but as mentioned I may consider posting the amps within UK at buyers cost/risk. PM for details, thank you.

Ashdown used a lot of Sica stuff in their 2x10 300w  and 4x10 600 watt cabs, 10" 150 watt 8 ohm and 16 ohm variants. This link might give you a basic idea of parameters you could try when modelling a ported solution. The Sica BP10/150 is probably as near as you'll get to the OEM version Ashdown used in some cabs, assuming Ashdown can't supply you with the parameters of the drivers in your RM cab. Again, its only a rough guide and no guarantees as OEM drivers could be specified differently from retail versions. The Ashdown Sica's of the time look identical( but probably aren't exactly the same) to the BP10/150 but with the blue ashdown label on the back.

https://sica.it/wp-content/uploads/2021/02/ZJ05820.pdf

I think every player will reach stage where they know in themselves when its time to hang up their sticks/bass/guitar/horn/etc etc. Might be a health reason, or the fun might have gone out of it, or perhaps a bit of both? Telling someone else they are too old to rock n roll is not something I'd probably never do, unless there was a real concern for their well being. In very recent times, our band had a dep drummer keel over at a rehearshal, and who unfortunately needed urgent hospital treatment. He was in his 70s and an excellent drummer, but as a band we decided not to have him back as we were doing a lot of energetic rock covers. He was ok about it, and returned to dep drumming after he got out of hospital because he chose to keep playing. His real love was jazz, and the brushes and bamboo sticks suited him better than a set of Vic Firth Slammers.

There is an old saying that goes "You don’t stop playing when you get old – you get old when you stop playing, so keep playing."  It's been a mantra of mine in recent years, but I do get where you are coming from. After a good few steady years of gigging, playing, and having a ball with some of the best band mates I've ever had, a band split, a good drummer friend passing away suddenly, and trying over several months to keep new band projects with various new personnel going, has felt not as enjoyable as it once was. Were on our third drummer, and second vocalist in as many months. Trying to get everyone back into sync, and learn material has been very trying to say the least. It would be much easier for me to just hang up the bass, and sell on the gear and melt into the audience instead of being onstage. I have booked gigging comitments to give me a reason to keep going and I don't like to leave band mates in the lurch, but I can see 2025 being a challenge that might mean retiring from gigs. I'll also have a load of stuff to sell on if I pack it in next year,  but I think hanging on to at least one rig is well worth it. Just incase a new project comes along, or you get that call to dep, or join a new project you might enjoy that enthuses you to keep your hand in with the bass.

Oddly enough, I've just recently bought a retirement acoustic guitar 😁 It's never going to be as much fun a playing bass though.

I owned and used a pair of BF One10's playing predominantly rock music and bought them to replace a single cab with a larger driver. Great little cabs I must admit, but it took me a few months of gigging to realise they just weren't for me. The two together could never get as loud as the single cab I was using without EQ'ing out all the low end that is my preffered tone. I found them quite coloured tonally( it does say they are designed that way), prone to break up with not nearly as much power as the single cab was able to take, and because I had to take a lot of bottom end out to keep them cleaner, they sounded thinner. The other single driver brand cab I used sounded bigger, cleaner, louder, and could handle as much low end as I could throw at it without breaking up or distorting. I haven't used any of the BF XN cabs to compare, but if they are half as good as everyone says they are, I'd have one anyday in preference to a pair of One10's. Also keeps it simple as a 1 x cab setup.

Will the replacement driver be covered by warranty if you install it yourself? Just saying, as some manufacturers will sell OEM spare parts but insist an "authorised" repairer fit the part to maintain any future warranty claims.  

Rehearshal for a second rock covers band project went reasonably well tonight. This was to resurrect the old band I played in that fragmented earlier this year after our drummer sadly passed away, and our vocalist left. We have two rehearshals before the first gig together with the new drummer and new vocalist. They are shaping up well and getting to grips with the 36 covers they have to learn for a 3 hour show. It's the same lineup from our other blues/jazz project. We did our first gig last week as the blues/jazz project with a different setlist and a much more relaxed and quieter setup. Tonight, I used an old 1980s Fender Sidekick 100B amp at rehearshal and it actually sounded really good and held up well with loud drums and a cranked Sessionette 75 watt guitar combo. It will work well in the blues band, but I've realised for the rock covers band I'll need to dust off my ABM setup which I haven't used in a while, as the weekend gig coming up will be a much busier venue and traditionally a louder and more rowdy gig. Now where did I put my ear protection?

On 17/08/2024 at 06:42, alexa3020 said:

Playing through my ABM 600 last night, eq set great and a nice bit of grit and harmonics through the valve drive. it really was sounding lovely. Then all of a sudden nothing, no light on the vu, no sound and no power. Tried swapping power cables but no joy. I can only assume its the fuse next to the kettle lead input that has blown.

Has this happened to anyone else? Is it just a bog standard fuse I need to get? Should I be worried if it is that fuse has gone?

 

Im normally really prepared at gigs, but its never occurred to me to bring spare fuses.

 

Luckily the sound guy had a mag 300 head available. I used to have mag 300 210 combo - I found it pretty gutless, but I paired it with my Genz Benz 212 and it sounded superb with power on tap. just goes to show how important a decent cab is.

The fuse holder on these amps have a handy space to stash a spare fuse. I never leave home without one, luckily so far never needed a spare. If its the input fuse that's blown, swapping it with another of the same rating( usually a T4A 250V anti surge on ABM600's - it will say on the back what your version has) and type will give you an indication of what might be the issue. If the amp powers up normally, it's likely something to do with the mains supply that blew it in the first place. If the replacement blows, its likely you have a problem with the amp. The modern transformers on these amps rarely give any problems, it could be a shorted output device(s) on the output circuit board if the input fuse is blowing instantly. ABM's are easily repaired, and Ashdown UK have great customer service. It would be well worth calling them up to have a chat with about fixing your amp.

I've tried modelling pedals and just never liked sounding like someone else's preset or my own modded version of one. I see their worth, but I use very little in the way of effects nowadays. Last few gigs in particular have been Bass -> LMB3 -> Amp. And thats it. One thing i've leaned towards is using smaller amps to mitigate gig monitoring systems and probably more for the benefit of my hearing than anything else. For the most part its really just my bass and the amp, and I kind of like the raw sound of my bass direct into a small amp set clean. By small amp I mean anything less that 150 solid state watts as that seems more than enough for pub gigs. I've also tried a dedicated power amp ( A Behringer 200w per channel/400W bridged type ) into one cab. One channel was sufficent for small gigs and bridged was even more flexible. However, I needed more front end EQ/signal to drive the power amp which just complicated things more at the very front end. The Bass -> LMB3 -> Amp( up to 150watts ) really has been a godsend of simplicity. As mentioned already, most amps have the flexibility of useable EQ, and still have a send/return to just use as a power amp if needed. And, if your modeller fails, you can still plug straight into the amp and probably hear what your bass  actually sounds like as the Gods of Analogue/True Bypass intended🙂

I'll be using this setup at a low volume easy going blues gig this Thursday. The cab is a regular feature for rehearsal and small gigs and has proven itself with a few different amps. The little Ashdown class-d head was a fairly recent purchase as a back up/home studio use only but has worked really well with the R210 cab in particular. It's not my first class-d amp but is my first Ashdown class-d head. It's simple to operate and easy to get a usable tone from. Very reminiscnet of the MAG/Electric Blue pre-amp sections and i'm guessing might be like the Rootmaster heads although I havent tried them. The killer feature for me is the shape button which is just like the one on Ashdown ABM's. It gives the amp a surprising punch and low end presence. There's a curious master volume that goes up to 27 but around 13 or 14 is more than enough for a small pub sized room. Lovely warm fat tone and so far no sign of the class-d auto compression and limiting I usually associate with class-d stuff. I think its 300 watts but sounds about the same output wise as my TE GP7 SM130 head. Obviously one other bonus is that its very light.

Personally I think the shape button on an ABM is its raison d'etre and there is enough leverage on the entire EQ to still get a good clear tone without things getting muddy. I haven't played through a Digbeth but curiously with the shape disengaged on an ABM, that sound is reminiscent of the older Laney RB stuff I used to own, and a quite clean and powerful mid presence, dare I British solid state sound. If the Digbeth has any of that ancestry from the older RB amps then they might sound not unlike and ABM with the shape off 🤔

Tonight's rehearshal went much better than expected. It's the only one we could fit in before our first gig together as a new lineup this Thursday, and was the first time all four band members have jammed together. There are reasons for this as rehearsal and gigging has suffered a few setbacks of late. Sadly, my drummer buddy who was an ace tub thumper passed away unexpectedly a few weeks back, and then our long time vocalist left the band shortly afterwards. These things happen. Positives though are that with a new drummer and stand in vocalist, we didn't sound too shabby tonight. Although we are admitedly a bit rough around the edges, we are confident we will be able to put on a good show. I've also slimmed down the gear further of late as its mostly been low volume and quiet blues/jazz types weekday evening shows i've played. As tonight's jam was also a sort of dress rehearshal, I got a chance to put some miles on a recent purchase, a tiny lighweight class-d Ashdown amp to go with my well proven and gigged Laney R210 lightweight cab. Very pleased with the sound, much like a MAG with an ABM shape added in. There was no amp sliding around on the cab either for such a small box even at high volume. 

There was a time where I always brought a full repair kit including soldering iron, tools, spare parts, valves, jack sockets, guitar and bass strings, plectrums, batteries etc and I was the only one in the band who had an old Boss TU-12 tuner. I recall one gig at the Cathouse in Glasgow where I repaired several guitars owned by other bands with mostly dodgy jack sockets and leads in one evening. Needless to say my TU-12 was passed around everywhere with everyone until one day it wasn't returned. I have also been the PA provider in past bands and rarely ever got any help or thanks for doing so. Things aren't so bad these days. I only jam with folks who have their own tuners and ken how to intonate their instruments. I've found that people who know how to setup their instrumetns are mostly gear savvy as well and look after their rigs well.  My only "extras" contribution these days are the stands for the small powered PA speakers brought by my buddy. Everything else is for my setup alone and whittled down to bare minimum for lightness and fully checked prior to every outing. I wouldn't say I was a professional player, but it's not difficult adopting a professional mindset when it comes to my own gear, and doing my best to not be a burden to my bandmates.