DGBass

I think the only settings I can whole heartedly recommend is to have youer LMB3 switched on all the time and I like it last in line😁 Agree its a matter of fine tuning to however it suits the individual. I rarely change settings and might tweak the level depending on what amp I'm using. Thats usually an Ashdown ABM although I have been testing an old GK bass amp and found it can cope better with a bit more signal from the LMB3 without any detrimenal effect. Just had a look at my board from the last rehearsal and looks like this:

This was my rig of choice for a recent gig and one of the few gigs I've done this year that hasn't involved an Ashdown ABM. It was more a nostalgia trip to use this Trace Elliot as I was intending to sell all my Trace Elliot kit at the time and have now done that. The AH200 GP12 is quite a special bass amp and in my experience always punched way above its weight and had that sound.

Still using my LMB3 and its the only compressor/limiter I've used since I sold my old MXR M143 limiter. The M143 was the best pedal comp/limiter i've ever used and haven't found anything to match it. The LMB3 does a good job though and the thing about both pedals is I think they did colour the tone slightly and enabled me to have 'my' sound. Done the spectracomp thing as well as a few other things and none were particularly bad at what they did, I just prefer what the LMB3 does. Been on my board for about eight years now and was used when I bought it back then. No issues with reliability either.

The good thing about a P-Bass is that there isn't actually a lot that can go wrong electrically. If your bass had been stored away for a long time, and was working before it was stored, i'd go for the simplest culprit of corrosion/oxidisation on the jack plug and/or dirty/dusty wipers on either the volume or tone pots. Switchcraft type jacks are for the most part bomb proof, the only thing they can suffer from is as user @Grimalkin mentioned, a build up of oxsidisation especially in the barrel part. I would work a jack in/out quite a few times, give it a wiggle for good measure. And, give the tone and volume pots a good massage back and forth for a good few minutes each to see if that works anything into life. A sparing amout of switch cleaner in the jack barrel and to the pots is also a good strategy assuming you have some. I wouldn't start cutting wires or desoldering until you are sure the basics are covered. I had a similar issue after storing my p-bass for a few years and a dirty tone pot was the culprit.

If its a gig in a larger venue or one where the backline is provided I'll always take the P-Bass as I know the tone will fill up bigger rooms easier and with provided backline, there is less fiddling about to get a useable sound with a P-Bass. I like using a Jazz with my own backline though, probably because I use the Jazz more at home and at rehearshal. I have learned over the years to rotate between them for gigging to minimize wear and tear, and either instrument works well in a band setting. The P-Bass just nudges ahead slightly for overall giggability. Never been a fan of PJ basses and although I did own one for a short time, I just couldn't get to grips with the range of tones it made.

I remember there being lots of 5 string action around that time and I even jumped on the bandwagon myself with a Yamaha BBN5L bass. Only 5 string i've ever gigged and it was a regular feature from around 2000-2003 for me. 5 string Soundgears were very popular amongst my local rock/metal fraternity, as were Stingray 4's and Fender Jazz basses. I suppose you could also ask what was the popular bass in the 2000's featuring on mainstream music TV or for a particular genre of music. Or even your local scene. Fenders always seem to feature in any decade and any genre music. They still do even now. Bands like A Perfect Circle released Mer De Noms in 2000 and I remember putting down my Yamaha for a while and realising my Fender P was still cool in 2000, especially after watching Paz Lenchantin rock a P Bass during a performance of Judith on MTV. 5 stringers though are what I associate most with the 2000s.

I was involved in an original music band project where the guitarist insisted on drop tuning in some weird and wonderful keys. He used a Digitech Whammy pitch shift pedal. I bought an EHX PitchFork for the bass to try and match what he was doing. Neither pedal impressed me and the Pitchfork never managed to track everything but mostly did a reasonable job. The sound quality was never great either in my opinion. It aded a sort of metallic resonance to the notes and I could definetly hear latency. In the end, even our guitarist gave up with his pitch shift pedal and settled on an extra instrument already detuned so he could swap guitars on stage when needed. For bass I just used my fingers to transpose keys on a bass tuned to concert pitch. That was a few years ago and I guess Pitch shift pedals might have moved on somewhat in processing power and sophistication but I could say it was the least used effects pedal I've ever owned!

Yes, but reluctantly on my part. Discussions on doing crowd pleasing xmas tunes never go smoothly in our covers band when a gig set list is being drawn up. The only good thing is that we haven't needed to play xmas tunes since December 2019 just before the pandemic! We collectively settle on a medley so as we don't have to suffer playing xmas tunes all the way through. Pubs and clubs are decked out in their xmas glitter this time of year so its almost expected in venues that you get musically festive at some point in the set. Not in order: Run Rudolph Run Santa Claus is coming to town Merry Christmas ( Slade of course!)

Yep, direct from the horses mouth is often the best source of information and although i've never had cause to contact Orange about stuff, its good to know they are approachable🙂

I'm not familiar with your kit but the principal of a single input into the return would bypass all of the front end of the amp so you wouldn't likely get the use of a control in the pre-amp chain. The LBT blurb suggests the compressor is a front end effect rather than an output compressor like Peavey's DDT feature. Most compressors on amps are front end these days. Out of curiosity, I tried doing the same on three different amps. An Ashdown ABM, a GK and a Markbass. All were the same, none of the pre-amp controls functioned going direct into the return. One other thing is that using the return means your input source will need enough level to make the most of the power amp section. A Sansamp should be more than capable of supplying a hot enough signal. I suppose best option is to try it out and compare the two setups.

Just for info, the folks at Polar were quite approachable and I suspect relished the chance to get away from their desk to rummage around in the warehouse looking for NOS rack kits. Unfortunately there wasn''t anything available for my ask. However this may be of interest to owners of the old school RB800 amp. Polar still have some NOS 3U rack ear kits for RB800's available, so if you are lucky enough to own an RB800 and fancy racking it...give them a shout.

I've had as many ABM's of all shapes and sizes pass through my hands to have a reasonably good idea of what is fairly original. The two cabs (4x8 and mini 15) are stock MK1 ABM Minis. The JJ ECC83S I fitted to replace a no name valve is not original but everything else appears to be. One thing Ashdown did with amps of this era when they built them in house was date the components they fitted, a bit like what TE used to do back in the day. Whoever built an amp initialed and dated a component part as well which is a nice touch. Little things like that give you a good idea as to what you have. I suppose you can never really tell for sure with twenty year old amps of any make but this particular one is the most original of this era i've ever come across and the best condition by far. The serial number says Nov 2002, the transformer, an original XTE1 model Oct 2002, and the power module 24/10/2002 which all seems right. I remember reading Ashdown's manuals of the time which rattled on about their "ABM Design Philosophy" to build a "minimum service, high quality, long lasting powerful bass amplifier." A clean out and a new valve every twenty years seem to fit that philosophy! Sounds lovely as well and very quiet and controlled in operation for such a powerful old amp, its definetly not had a hard life. I suppose there are a few Triggers Broom's out there as these amps are super easy to repair and maintain and always look the part even if the internals may not be as they left the factory. This one though is definetly a cut above the rest🙂

With the P-Bass, I'm sure it would have saved me money tbh. I knew it was a keeper the day I bought it, it just felt quality. If that had been the case when I was starting out I'm sure I wouldn't have strayed off the path as much or suffered attacks of GAS( I had a major affair with EB and pre-EB stingrays for a number of years ). I also have an American Standard Jazz Bass, its only ten years old and I also knew that was a keeper the day I bought it. Again, it just had that quality feel. I would say in its case, it was probably more years of experimenting with other JB instruments to find a keeper( i've owned 8 jazz basses of various makes and as a lefty there is a more limited choice anyway) That journey eventually developed into an American Standard Jazz. It took a while, but I have two really nice reliable, great sounding and comfortable to play quality USA Fenders and I have no desire to own anything else. I also don't need anything else tbh as both instruments cover all my requirements really well. I can tell you thats a very happy place to be 🙂

Something I've been restoring recently and haven't yet had the chance to gig. A cupboard find that had been locked away for over ten years and had a few issues due to lack of use. It's now fully restored, fully operational and pretty much mint condition. The EVO500 amp head is quite unique for amps of this vintage. Its UK built as are the ABM Mini cabs and they all have consecutive serial numbers. The amp has the old school EVO 500 front panel but has the newer EVOII rear panel with a speakon jack. The power section has the later bipolar 500 watt output stage and not the earlier 400 watt mosfet board. All the dates check out as November 2002. Looking forward to trying it out at a gig.

To answer the OP's original post, ie. where is the value in a USA Fender I can only add that there is just something extra built in thats worth it, especially in the standards. I can't speak for every model year however my own experience of buying a USA Standard as it was called back in the late 90's has been exemplary. Fender got back to their roots about this time after a few odd tangents in the eighties. The build quality on my USA standard is superb, materials, finish, playability and tone all make for a great and very reliable bass. I've owned it for nearly 25 years now and the neck has never moved, its only needed one fret level in that time and I'm told by my tech the frets will last for sometime yet. I never thought back then i'd still be using it to this day and its become my go to bass for gigging and almost and old friend. I've owned squiers, players, antoria's, ibanez's etc over the years and while I've never owned a bass that wasn't giggable, none have felt so comfortable and reliable as my late 90's USA Standard. For me the investment back then was well worth it and if I was starting out again, I would save up and grab an American Standard without hesitation. If I'd got one to start with, it may have saved me from years of being lost on a gear quest before I finally got my USA Standard, and of course a a fair bit of cash🙂

I found out I had a nickel allergy a few years back and had to stop using any nickel alloy strings. I switched to cobalts which cured the problem until my cobalts started to rust after about half a dozen sweaty gigs. Rusty cobalts also now irritate the tips of my fingers from a sort of black corrosion the cobalts develop. I'm back to using stainless flats which seem to agree well with my finger tips. I never use picks either so its always hands on playing.

Thanks, I did look at the UK Distributors (Polar) web shop which does have lots of rack stuff for other brands they deal with but nowt for GK amps of the era I'm intersted in. Worth a direct approach perhaps as well as asking here.

Rack ears for end of production amps are never easy to source. Just thought I'd ask the forum if anyone has a set of GK rack ears to fit Backline / RB heads gathering dust in a dark corner somewhere that they would consider parting with for a reasonable amount? It's just the black metal parts with or without screws. The chrome RB hoops aren't necessary if they come from an RB but I would take them if they came as a package. I've considered hacking a set from steel angle strip or pattern ears from online but to be honest I'm useless at metal craft. If anyone can help, drop me a PM please. Many thanks. D

There was a time where I couldn't see past my pre-ernie ball Stingray. Mostly because it suited the grindy punk/metal tones I was so used to playing back in the day. I always had a good p-bass and a jazz bass in the wings but they were only used every now and then. I eventually sold the Stingray ( a regret when I gave up playing for many years) but retained the p-bass and the jazz bass. As an older player these days, I've really come to appreciate the merits of the p-bass and the jazz bass as super versatile for just about anything I need to play. I've owned two p-basses and eight jazz basses over the years so it's easy to work out where my allegiance is. I've always felt supremely comfortable with a Jazz. The slimmer neck profile and tonal variation just work well with almost any style I need to play and as its mostly covers bands I play in these days, the Jazz ticks all the boxes. Saying that, I've owned my p-bass for 25 years now and if ever I need to rock out and generate some serious thump, you can't beat a real deal old school Fender USA standard Precision. It's a serious chunk of wood body wise and neck wise and is physically demanding to play. Thats why it comes second to my American Standard Jazz. I did own another newer Stingray for a while and while it was a pretty astounding bass quality wise and tonally, I just never got back into the Musicman sound and have switched permanently to Fenders.

I owned a BC212 and the way the ratings work is that the original drivers are 100watt 16 ohm custom eminence bass drivers. The horn is a very high quality Eminence ASD1001 compression driver rated at 50 watts RMS and is 8 ohms. The cabs have a proper crossover circuit board installed to split frequencies between the bass drivers and the horn. This equates to a rated power handling of 250 watts RMS @ 8 ohms. The original 100 watt 12's are fairly fragile and its not uncommon to see these cabs with burned out voice coils as they often get paired with much higher powered amps. These cabs will easily handle much more power as they are well ported and can punch way above their weight with the right drivers. I installed a pair of Eminence Beta 12A2 drivers in my cab which gave a rating of 500 watts RMS and the cab handled this amount of power with ease and sounded killer using the original crossover circuit. There are probably a few other options as regards drivers but it will depend a lot on what you intend to use as an amplifier and what sort of power you might be pushing through the cab.

Same as it ever is... at the last gig and the next gig. A long chassis ABM, a P-Bass and a big high power folded horn cab for venue shaking bass 😁

OOOH! that is some serious bass overhang. My OCD is flaring up. Saying that, a dual 2x10 Markbass cab setup is something I've secretly fancied. Bassamp v2.0 sort of vibe. How do the dual stacked 2x10's sound?

Yes these amps used the same ABM power stage as the ABM's of the time used. I know this amp well and it's history. It was purchased new in 2002 by a dude called Nick from Wales and he used it in his band, Welsh rockers "Clipper" for nearly eighteen years without a single issue. It travelled all over the UK and mainland Europe in its gigging life. It ended up coming north a few years ago and was fully rebuilt/serviced and is quite possibly the best example of a MAG400 head in the UK currently. I used it as a rehearsal amp and gigged it briefly (between ABM's.) It's a cracking amp!

I owned one of these heads for a while and it sounded awesome with any cab option. These have the 400 watt mosfet power amp board as standard and depending on what transformer is fitted will be rated between 400-500 watts. You won't get much grind out of the valve input mix knob but it does add a glassy sheen to the tone that is quite something and not available on later ABM's. Enjoy!

I must admit the ABM 750 really peaked my interest as the latest incarnation of ABM's. It appears to be a bridged under voltage version of the old school ABM 900/1200 amps but running 'cooler' and safer at 750 watts RMS. I'm sure it will be ultimately very reliable in use and the idea of a quality, British made BIG power class AB amp that's not running over voltage or stressed to the max to satisfy the sales reps power stats really sounds like Ashdown are on to something good. Saying that, I recently responded to a mail shot by Ashdown asking what my three favourite Ashdown products were and also what I would like to see Ashdown produce in the future amp wise. My three fave products were ABM's, ABM's and ABM's. I also specified a compact class D Ashdown Digital Magnifier or ADM if you like in the 500-800 watt range, with the ice blue paint job of regular ABM's, a standard ABM tube tone stack and comes with rack ears for rack mounting as standard 2U size. Hey, if Markbass can do a tube 800, why can't Ashdown do it better? I'm sure there are a ton of bass chatters waiting for such an amp. Anyway, until I have the option of a coolio lightweight ADM I will stick to my faithful old skool ABM EVO II 300 & 500 heads that despite the weight, do everything an ABM should, ie supply copious amounts of HEFT😁