DGBass

Could be a number of things, and Ashdown are probably the best people to contact as theses amps are eminently repairable. From personal experience, blowing the mains input fuse usually points the finger in the direction of the ouput board, maybe a shorted output device ( there are six bi-polar output transistors on the output boards. A failed/shorted one can overload a rail and blow the fuse ). I've never seen the pre-amp section ever fail in one of these amps and blow a fuse. For the most part I haven't seen a transformer go bad either in an EVO III amp. These versions are tuned to run at 575 watts so there is a lot of juice going through them. The bi-polar devices only usually fail prematurely if they aren't getting cooled properly over time or the heatsinks being clogged with accumulated dust/grime over the years can affect cooling. There is also a thermal cut out so even if it was poor cooling the amp would cut out long before something actually failed and work again after it had cooled down. Basically not a DIY easy fix if the mains is blowing. Ashdown should be able to sort your issue out easily. I always keep a fully working spare output board but touch wood, I've never needed it so far🙂

Rap Metal band in the noughties - walk on track was played over the PA by the sixth member of the band at the front of the stage using mini disc samples of Destiny's Child tune 'Bootylicious'. Instead of Kelly, Michelle, Beyonce can you handle this, our vocalist would point out to and insert the name's of the band's wives/girlfriends or frequently other people he was trying to wind up. Caused a stir on several occasions but became a standard part of our show and for the most part everyone loved it and expected it😉

I'm sure there will be some discussion soon on the RM owners club thread but I do agree with the new look. I never cared much for the previous versions of rootmaster with the curved metal case and chrome or silver ( or red or black ) fascia. This new EVO3 looks like a premium product in a standard no frills rectangular black case and now has cab sim features not found on even an ABM. Whats more Ashdown don't seem to have hiked the prices either which is good news for any potential buyers. I'm sure I read somewhere that these would also be rack mountable but there's no mention on the NAMM page. That would also be a very usable feature to have for me. I recall filling in an Ashdown questionaire a year or maybe even two years ago asking what wish list of products I would like to see in the future from Ashdown. One wish was a standard black box design class-D ABM style pre-amp head with an ice blue front. I'm not sure that will happen anytime soon but these new EVO3 RM's are as near as I'll get to that wish and thats not a bad thing at all. Top marks to Ashdown for aesthetics and product features on these new evolutionary models. Even the little OriginAL Evo looks the biz. I can see a lot of folks emptying out their previous RM's to update and good discounts on new old stock of EVO2's.

+1 to that. I think the ice blue finish on any ABM speaks volumes and is instantly recognisable as Ashdown's flagship product. The original black EVO V looks cool, the ice blue version even cooler in my opinion🙂

First rehearsal the other night of 2024. It's a brand new project and is shaping up to be a jazz/blues fusion sort of thing with hopefully a sax player joining for next rehearsal. There is also a marked departure from my other rock/blues band volume wise. The new drummer has a jazz background and plays very quietly so there isn't any need for my ABM or my 700RB. I took along my smallest amp, an old Gallien Krueger with an honest 125 watts @ 8ohms that hadn't previously left the house and was my home/studio amp. To my surprise it was more than capable in the new band situation and it wasn't being worked hard at all. Also tried a wireless system a very kind bass brother donated to me at Christmas. It's old school but worked flawlessly. Not having a lead snagged around my foot was another pleasant first for me in 2024.

Not all cab manufacturers use a red to red and black to black wiring design. I would tend to leave the wiring as it is as in this case where its black on the red terminal and red on the other. From the pic it looks like the 10 inch drivers also have a little cone fatigue from over excursion which would suggest its a well used cab and has been operating at or near its limit. That might be why the horn stopped working in the first place. If the horn works fine when swopped over I'd be inclined to screw it back together and job done.

Gear4Music ( no affiliation) have replacement parts some Eden cabs if you felt it might be worth trying a diy repair? At the moment they have replacement horns for under £20 but they are I tihnk for D series 2x10 cabs eg 210XLT & 210XST. Depends what model cab you have as if its not a D series you may need another type of replacement horn. Actually, they also have e-series replacement horns. Might be worth a look.

Best purchase of the year was my used but well cared for Fender Player P-Bass The purchase was in the bag by 1pm on New Years Day 2023 so it also qualifies as the first and quickest blag of 2023. Closely followed by a shiny red box purchased from @Chimike and which is just as fantastic as the P-Bass. Nothing really bad purchased at all this year. I did buy a used Boss SYB-3 out of curiosity but that was moved on quite quickly so may qualify as worst purchase purely as it was only in my possesion for a short time. But it wasn't really so bad, just not for me.

A pair of Electrovoice ELX115P's. Probably a bit overkill for pub gigs but nice to have the available headroom. They only handle 3 x mics for vocals, some kick drum which they cope well with, and some occasional amplified acoustic guitar. Do their job very well and so far very reliable.

Well spotted. We are all SAHB fans and the name comes from a track on their album Tomorrow Belongs to Me.

We are "The Stoneaters"🙂

Final gig of 2023 last night. No2 Baker Street in Stirling Town with an intimate, chilled out and appreciative crowd. Very warm atmosphere and the band played well. Only issue bass wise was a seamless switch over from my main bass playing finger to the backup finger mid tune towards the end of the third set when a touch of cramp set in during Go Buddy Go. Apart from that one issue, a very enjoyable end of year gig was had by all and very well paid as the accumulated wealth in the band gigging bank account was cleared out end of year and distributed between the band members. Bass rig on the night was my trusty lefty MIM P-bass into a GEB-7 with an accentuated 120Hz boost, an LMB-3 and same as it ever was via a TC Poly Tune. Amp wise was my Ashdown Labs MK500 and trusty 1980s Musicman RH115 cab sporting a recently installed Lavoce Neo high performance 15" driver. Sounded immense and super heavy on the low end. A wee video clip from the drummerist video cam set about two foot back on a shelf behind our drummer and looking towards the audience. Taken with a mobile phone camera. Merry Christmas Bass Chatters 🎄 My Movie 7.mp4

This weekend's rig of choice... At the end of this year, i'll have been using my 80s Musicman cab as my go to cab for ten years. Believe it or not, its a one handed lift. Actually it only has one handle on it 😉 To celebrate this milestone its just recently had a really nice spec Lavoce Neo driver installed which is warmer sounding that the previous more hi fi Faital Pro 15PR400. Sounded immense with my trusty MIM P-bass and a rather wonderful Ashdown Labs MK500 circa 2008 providing the oomph. Forgot to bring a back up amp to the gig but really, with Ashdown kit, i've never needed one.

Thomann retail the Eminence APT80 V2 which may or may nor be a drop in replacement. https://www.thomann.de/gb/eminence_apt80.htm The crossover looks about what these cabs were setup for, around 3.5khz crossover. I owned the TX410 and TVX410 and never did care much for the tweeter tone. It was that classic Peavey clang 90s stuff were famous for. There was if I remember a decent tweeter control knob on these cabs where you could back off the treble. I replaced quite a few diaphragms on the Peavey type horns when they blew and used to order them from Barns and Mullins in the UK as they were a Peavey ( and now Trace Elliot) distributor. The Genuine Peavey spares were quite pricey which might explain the APt80 in your cab. Fostex also did a version which was quite similar.

These aren't really designed for gigging imho. I'm pretty sure home use or even light rehearhsal use with a quiet band would make that feel like money well spent, you don't get much for that amount of money these days. Might even pair well with a 1x8 cab if small and neat is your thing. I do have some real world experience using the GPA-100's bigger stablemate with bass, the GPA-400 which is also billed as a guitar amp. It's probably a pair of the GPA-100 modules in one case. Home and studio, its a delight to use with bass, no fans and lots of nice clean uncoloured power although it too has a bass and treble control on each channel. The bigger one is giggable when used in bridge mode and can go pretty loud, loud enough to consider hearing protection but by then the peak limiter starts to kick in anyway. Oddly enough as @stevie mentioned about the GPA 100 having an HPF, the GPA 400 seems to have a similar drop off in low end response when using the full 400w in bridged mode and its those low end frequencies that soak up the power anyway and cause the amp to auto limit at its peak performance. Any small class d amp i've experienced does much the same thing if you dabble in low frequencies (between 30Hz-120Hz - I used my GPA 400 with a GP12SMX Stereo pre-amp) which means you have to back of the bass or risk the class d output section limiting/overheating or cutting out completely at its highest performance levels. To put it into perspective, the GPA-100 is £69 for a wee super portable take anywhere amp that will be usable for home and home studio use, and perhaps a very quiet band rehearshal. The GPA 400 is more expensive but quite giggable with bass in bridged mode even though it is marketed as a guitar amp.

Early 1980s Overwater

Something for a chilled out Sunday evening although there is a fair helping of angst mixed in to this modern dance classic. Performed this time in a Jazz style with some very nice DB playing.

I've seen a similar problem before with some Fender/Squire/MIM basses. Fitting a small shim at the front of the neck pocket to more or less raise the angle that the neck leaves the body has helped and on occasion eliminated buzz at the dusty end of the fingerboard. I used thin soft plastic or platiciesd card and secured the shim in place by drilling two holes in the shim where the neck screws come through the wood. Fitting a shim is easier than sanding necks or pockets but still not ideal. I would echo whats been said here already about getting the basics sorted like neck relief, intonation( this will also get string tension in the right place), and string height at the nut before anything else is considered. Most mass produced basses these days do need some sort of setup or adjustment to get them playing perfectly. As far as shims go, even very thin material can have a marked effect. Something like credit card thick material is probably overkill.

I've been clearing out a load of stuff recently and have a fairly firm idea of what gear I want to be core stuff. The one rig I'm really happy with which has proved time and time again to be very reliable, great sounding and fairly loud if I need it to be is my reasonably compact GK rig. It's one amp & one cab that's like a swiss army knife of tones and works particularly well for rock and blues music which is mostly what I'm playing these days. I still have my Ashdown stuff but that plan is in a state of flux at present which means the GK gets more rotation than anything else thats available.

Ooo...this thread might just bring out all the old romantics on BC😍

Did a recent deal with Mick. What can I say, first class dude to deal with. Straight forward, no fuss and great comms. Cheers,😎DG

If you mean something like this then a suitable replacement shouldn't be too hard to find. Just getting the right diameter to fit the exisiting hole can be tricky but not impossible on these old MKII GP11 pre-amps. The obligatory safety warning is needed because it means re-wiring the mains supply. UK mains voltage can be very hazardous for your general health. If the original is dud, disconnecting the mains and measuring the old one will give you an idea of the right fit for the hole. You could then source one and get a tech to professionally fit the part for you. Coloured ones are nice, but plain ones with a black cap will do the same thing and usually be cheaper. Would likely need to be a latching type switch and not a momentary one but without a schematic I couldn't be sure. If it pushes in, clicks and stays in and needs to be pushed again to pop out its likely latching.

I've definetly become a worse player as I get older. Listening to recordings of original music I played on years ago, everything seems so complex when at the time I was learning as I went along. It would be fair to say I peaked early. Since converting to playing covers, I usually just learm the tunes well enough to get by because no one in the band is playing the cover note perfect. The songs are quite recognisable but for example my bass playing on "Won't Get Fooled Again" doesn't quite match what John Enwhistle does. Then again no one I've seen covering that tune plays it like he does 🙂 I do find it much easier nowadays to work out a key and transpose stuff if needed so some of my playing has improved over the years. I would say it was competent in certain parts but could always be improved upon in others.

That sounds about just right for bar gigs in and around Central Scotland. Regular venues I've played aren't paying anymore than what they did pre-covid and mentioning an increase of even £20-30 quid doesn't go down well. I've heard that there is a better paying class of bar gig further up the East Coast so I may explore that. Travelling further does means more cost, and time to get there and back. Generally speaking, there seem to be less live venues to play post covid so there is less bookings available and bands are playing for less or the same as four or five years ago just to get a gig.