Ashdown ABM-600RC-EVO IV User Manual
ABM-EVO-IV - Front Panel Facilities
THANK YOU
Thank you for purchasing your Ashdown Engineering Amplier and welcome to the family!
We really think you’ve made the right choice and know that this amplier will give you years
of great tone and service. It is a machine though and needs to be looked after, please read
through this user manual which will help you get the most out of your new Amp and keep it
running as long as some of our happiest and very famous customers.
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INPUT
PUSH FLAT/SHAPE
INSTRUMENT
PASSIVE/ACTIVE OUTPUT MUTE
INPUT LEVEL
BASS MIDDLE TREBLE
VALVE
9 BAND
EQUALISATION
DRIVE PLUS
INPUTS - There is a single instrument input
provided linked to a PASSIVE/ACTIVE selector
switch. The Passive input (switch out) is high
sensitivity and also high impedance to suit the
output from PASSIVE basses. The Active input
(switch in) is low sensitivity and lower impedance
to suit the output from ACTIVE basses.
INPUT CONTROL - The INPUT control sets
the signal level through the preamp in conjunction with the INPUT LEVEL VU Meter. This is
adjusted to give a reading of 0VU on the meter
for average playing dynamics with occasional
peaks into the red region. Please note that the
setting of this may have to be re-adjusted after
modication of the EQ controls.
PUSH FLAT / SHAPE - With this button in its
OUT position a xed E.Q. is superimposed on
the preamp to give a bright but punchy character
to the sound. Pushing this button IN returns the
preamp to a Flat frequency response.
This function may also be controlled from a
footswitch. For the footswitch to operate this
button must be in its OUT position.
VALVE DRIVE PLUS - This routes the signal
either through a clean Solid State amplication
section (control on zero) or through a Dual
Triode Tube amplication/overdrive section in
order to add either tonal character i.e. warmth
with the control set at 9 o’clock, a slight edge in
the sound at 12 0’clock through to an increas-
D.I.
OUTPUT
DYNAMIC
COMPRESSION
SUB
HARMONICS
PRE/POST E.Q
TUNER
MUTE
LINE OUT
OUTPUTS
ing degree of Tube distortion/overdrive as the
control is advanced to maximum.
A Mix of these two amplication sections can
be achieved with this control.
N.B. The degree of tube distortion provided by
this control will also depend on the setting of
the INPUT control.
VALVE DRIVE IN/OUT - This push button
switches the valve drive section IN or OUT.
This function may also be controlled from the
Ashdown 4 way footswitch. For the footswitch
to operate this button must be in its OUT
position.
E.Q. IN / OUT - This push button switches the
Equalisation section IN or OUT i.e. the Bass,
Middle and Treble controls plus the two sets of
sliders placed between each of these.
This function may also be controlled from the
Ashdown 4 way footswitch. For the footswitch
to operate this button must be in its OUT
position.
9 BAND EQUALISATION - This consists of
BASS, MIDDLE and TREBLE controls with
three sliders placed between each control. This
can be used in a number of ways:
Firstly as a very simple Bass, Middle and
Treble tone control section as found on older
traditional ampliers. This is done by leaving
ABM-EVO-IV - Front Panel Facilities
BASS MIDDLE TREBLEINPUT
PUSH FLAT/SHAPE
INSTRUMENT
PASSIVE/ACTIVE OUTPUT MUTE
INPUT LEVEL
DRIVE PLUS
9 BAND
VALVE
EQUALISATION
the two sets of sliders interposed between these
controls set in their centre positions and using
only the BASS, MIDDLE and TREBLE controls
to alter the overall tone.
Secondly, if more control is required then the
sliders can also be used to tailor the E.Q. in the
regions between the main tone controls. This
provides a very versatile Equalisation section,
it is simple to understand and operate, yet
provides a wide degree of variation. It retains
the simplicity of a three- control tone section but
provides the exibility of a graphic equaliser.
DYNAMIC COMPRESSION – Adding a small
amount of compression gives a fat bottom end to
the sound and allows a greater volume of amplication to be used without the playing peaks distorting the ampliers output stage. You will also
nd that this will add denition to your playing
bringing out notes within a run more clearly as it
evens out the dynamics of your playing.
A large amount of compression can be used as
an effect but it will tend to reduce the dynamics
in your playing to such an extent that the volume
of the note will be the same no matter how hard
or soft you hit the string. Compression also adds
sustain to notes making them longer before they
die away.
The Compression Level control adjusts the degree of compression applied to the bass signal.
For this to function correctly the Input Level must
be correctly set as described in the INPUT
CONTROL section (left).
When the Input Level is correctly set there will
be hardly any difference in volume between
Compression IN and Compression OUT. This
is because the amplier automatically compensates for the reduction in level that would
be apparent when Compression is added by
increasing the overall gain to restore the volume to its pre compression level, because of
this you may notice an increase in background
noise with high compression settings.
COMPRESSION IN/OUT – This push button
switches the Compression IN or OUT. This
function may also be controlled from the Ashdown 4 way footswitch. For the footswitch to
operate this button must be in its OUT position.
SUB HARMONICS - This section produces
Sub Harmonics an octave below the notes
being played. The level of these Sub Harmonics relative to the straight bass sound can be
adjusted using the LEVEL control.
This is very effective in thickening the sound
and you will nd in use that only a small degree of this lower octave is required to really ll
out the sound and provide a character that is
not possible by any other means.
The degree of Sub Harmonics is also dependant on the setting of the BASS control.
DYNAMIC
COMPRESSION
HARMONICS
SUB
DIRECT INJECT (D.I.) - A balanced D.I. is provided on a latching XLR socket. This has a push
D.I.
OUTPUT
button placed below it that allows the user to
TUNER OUT - This output socket provides
a line level signal that can be used for a permanent connection to a tuner.
choose either a Pre E.Q. signal (button pushed
PRE/POST E.Q
TUNER
MUTE
LINE OUT
OUTPUTS
IN) or a Post E.Q. Post Sub and effects signal
(button OUT).
The output signal from this XLR socket is set to
The signal from this socket remains when all
other outputs from the amplier are Muted
allowing all sound from the amplier to be
silenced while tuning is in progress.
a level and impedance suitable for connecting
directly into the Microphone input of a mixing
desk for either Direct Injection into the PA system
or for recording. This must ONLY be used into a
Balanced Microphone input, it is not intended for
LINE OUT -This output socket provides a line
level/post Output Level control signal for con-
nection to an external power amplier driving
additional speaker cabinets.
any other type of connection.
OUTPUT LEVEL - The OUTPUT control
This has a oating ground that is referenced to
the mixing console it is plugged into and should
not need ground lifting. It is also unaffected by
adjusts the overall level of the amplier. Adjust
this for your preferred overall stage playing
volume.
Phantom Powering on the Microphone input.
Make sure your XLR plug does not have the
shell of the plug internally connected to signal
ground or this will connect the system to chassis
ground of the ABM and may cause problems
with hum.
PUSH TO MUTE - When pushed IN this button
mutes the output from the preamp to the power
amp, mutes the output from the D.I. socket and
mutes the output from the LINE Out socket as
well. This leaves the output from the TUNER
socket still available to allow muted tuning.
A blue LED is provided next to this switch to indicate when the amplier is muted. This function
operates only from the front panel MUTE push
switch. i.e. pressing this button mutes all sound
from the amplier and allows a tuner connected
to the TUNER socket to operate for silent tuning.
Release the button and you are back in action
again.
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