Ashdown Rootmaster RM-800H Utra-Light 800 Watt Bass Amplifier Head Demo

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Ashdown Rootmaster RM-800H Utra-Light 800 Watt Bass Amplifier Head Demo

Demo: May have minor cosmetic scratches/scuffs. Noteworthy blemishes will be pictured and described. Works as it should. Manufacturer's Warranty Included

Inputs
There are two choices of instrument input, these are marked passive and active. The passive input is high sensitivity and high impedance to suit passive bass instruments. The active input is much lower sensitivity and impedance to accurately match the signal from active bass instruments i.e. Those with a built in battery powered pre-amp.

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 modification of the E.Q. controls.
Shape
With this button in a fixed E.Q. is superimposed on the pre-amp to give a bass & high boost to the sound. This gives +8db at 50hz and gives +10db at 10khz.

E.Q.
This button switches the equalization section in or out i.e. the Bass, Middle and Treble controls and the two rotary controls placed between these.

Equalization

This consists of bass, middle and treble controls with two more rotary controls placed in-between. 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 amplifiers. This is done by leaving the 340hz and 1.6Khz controls set in their center positions and using only the bass, middle and treble controls to alter the overall tone.

Secondly, if more control is required then the 340hz and 1.6Khz controls can also be used to tailor the E.Q. In the regions between the main tone controls. This provides a very versatile equalization 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 flexibility of a graphic equalizer.

Compression
Adding a small amount of compression gives a fat bottom end to the sound and allows a greater volume of amplification to be used without the playing peaks distorting the amplifiers output stage.

You will also find that this will add definition 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 above. 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 MAG 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 is switched in/out with the push button adjacent to the compression level control.

Overdrive
This is a valve/tube emulated overdrive that is variable from a slight ‘edge’ or ‘warmth’ through to a fairly aggressive overdrive/distortion effect. The actual degree of overdrive applied to the bass signal is also dependent on the setting of the input level control. The higher this is set, the greater level of overdrive can be applied using the overdrives own rotary control.

Overdrive can be switched in with the push button above and to the right of the overdrive rotary control. The amount of drive applied to the overdrive circuit is adjusted using this rotary control. The over-driven bass signal is applied in parallel with the dry bass signal to ensure you never lose the full bottom end from your bass. Overdrive is situated after the compression allowing for a sustained over-driven bass signal to be produced by adding a degree of compression along with the overdrive itself. Ashdown Amplifiers reserve the right to change specifications without notice.

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 find in use that only a small degree of this lower octave is required to really fill 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. Sub harmonics are switched in/out with the push button below and to the left of the sub harmonics level control.

Output level
The output control adjusts the overall level of the amplifier. Adjust this for your preferred overall stage playing volume.

D.I.
A balanced D.I. Is provided on the rear panel xlr socket. This provides a post E.Q. Post effects signal.

The output signal from this xlr socket is set to a level and impedance suitable for connecting directly into a balanced microphone input of a mixing desk for either direct injection into the pa system or for recording. Effects send/return
A serial effects loop is provided at a level of 0db. The effects send and return sockets for this are on the rear panel above the d.I. Socket.

The effects send socket can also be used as a line out socket if required. The signal path through the preamp is only broken when a jack plug is inserted into the effects return socket. The effects send is situated after the E.Q.

Line In
This input socket provides a line level signal that can be used in conjunction with the Line in Level control on the front panel for connecting a line level instrument of playback device.

FS-2 Output
The FS-2 Output is for use with a double latching foot-swtich, this controls the Sub Harmonics and also the Drive for ease of access (foot-switch sold separately).

Speaker Outputs
There are two speakon out sockets located on the rear of the amp for use with appropriate cabinets. Min load of 4 ohms.

MAINS
For use with the supplied IEC mains connector. Mains fuse is located beneath socket, please check rear of model for specific fuse ratings. Everything possible has been done to make these reliable, minimum service, high quality, long lasting powerful bass amplifiers. We know you will appreciate the effort that has been put into the design and manufacture of this unit and you will be rewarded in your choice of bass amplifier by long life and reliability.

Inputs
High Input Impedance - 3.9M ohms Input range 150mv to 20v p - p
Low Input Impedance - 10k ohms Input range 300mv to 40v p - p
Effects Return Impedance - 22k ohms Input level 0dbu nominal
Line Input Impedance - 22k ohms Level 0dbu nominal

Outputs
Effects Send Impedance - 22k ohms Level 0dbu nominal
D.I.Output 600 ohms balanced Level -20dbu nominal
Speaker Outputs Minimum Impedance - 4 ohms
Frequency Response -3db at 22hz and 25khz

Equalization
Bass +/- 15db @ 100hz
Lo Mid +/- 15db @ 340hz
Middle +/- 15db @ 660hz
Hi Mid +/- 15db @ 1.6Khz
Treble +/- 15db @ 7khz shelving
Shape + 8db @ 50hz + 10db @ 10khz

Signal to Noise Better than 80db (E.Q. Flat)
Distortion Less than 0.5% Thd
Output Power 507watts RMS into 4 ohms. / 800watts RMS into 4 ohms.

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