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Here's what Ashdown say about the Triple Shot: Bass guitar distortion is an effect that is often compromised due to lack of control. The Ashdown Triple Shot is a super high-gain bass overdrive offering ultimate control and versatility over your overdriven tones. Give Your Rig a Caffeine Boost with Ashdown Bass Pedals Three-In-One In essence, the Triple Shot is three individual distortion pedals in one! The signal from the instrument is split into three distinct frequency bands (“Dark”, “Medium” and “Light”) and fed into three distortion generators. Each band has its own level (“Roast”) control before being recombined to create a full signal. It is therefore possible to retain and enhance the low-end frequencies of your bass sound with a thick and chunky overdriven tone, enrich the top-end with high-gain trebles — or take the two extremes and mix them together to harvest a vast selection of distinct sonic qualities. Roast Control With all of the ‘Roast’ controls set all the way to the left, it’s a simple, independent EQ… but using each of the Roast controls in harmony with its corresponding Dark, Medium or Light control, then you can vary the drive from a light little tickle in the mid-range to a full-on overdriven bass sound. Sound With all the controls at 12 o’clock you get a really nice driven bass sound that cuts above the mix in a live ‘alternative rock’ situation, whilst retaining the bottom end over your original bass signal. The pedal’s rotary controls are extremely sensitive and a slight adjustment can mean a major characterise change in sound. As a result, you have the ultimate control over your drive sound.
Here's What Ashdown Say About the Macchiato Compressor Bass legend and long-standing Ashdown artist, Guy Pratt has performed with some of the biggest acts in the world to say the very least... from David Gilmour, to Madonna, to Michael Jackson, so when it comes to product development, Guy is usually our ‘go-to’. Just as Guy was getting ready to go out on the road with his new band ‘A Saucerful of Secrets’, we had a chat about the prospect of producing a compression pedal. After lengthy, coffee fuelled discussion... we come to the rather obvious yet overlooked conclusion that with compression, there’s no ‘one size fits all’... that’s why we decided to create three-new and unique bass compression pedals in our new range ¬– one that Guy put his name to and two others that were inspired by Guy. Fine-tuned to Guy’s every demand, the Macchiato Compressor uses a personalised compression ratio (Guy’s ‘special blend’) with 3-bands of available EQ: Dark, Medium and Light – or Bass, Middle and Treble, if you want. The Macchiato retains the expression you put into the playing but simply compacts the dynamic range by a set ratio, irrespective of the overall level. Dave Green, Chief Electronics Engineer at Ashdown explains: “Because extreme lows contain more energy than higher frequencies, The Macchiato compressor enhances the harmonics and the overall sound becomes refocused. The bass guitar’s overall frequency spectrum overlaps other instruments considerably and it is often preferable to reduce the amount of low end from the instrument, this helps keep definition and clarity and enables you to stand out from the general low-end “mush” so often present. The perceived tonal deficiency in extreme bottom end is magically corrected as soon as the other band members start to play.” The Macchiato Compressor also contains a Subsonic Filter switch that reduces specific frequencies which can sometimes interfere with elements of the stage and can damage speakers in ported cabinets thro...
Here's What Ashdown Say About the Type 23: Not one, not two, but three bands of dynamic filters that sweep your bass tones under the control of the ‘high’, ‘low’ or ‘blended’ filter frequency; generating speech like and funky bass sounds. The Type 23 is a triple voltage controlled envelope filter with two of the filters being switchable between high band and mid band. The single sensitivity control effects the amount of which the oscillating filter reacts with the instrument and allows for a large range of Auto-Wah and Envelope effects, letting your inner-funk shine through. Adding more tonal capabilities, there’s a handy switch on the bottom of the pedal which further varies the frequency of the selected ‘high’, ‘low’ or blended filter oscillation frequency to tailor the nature of the desired effect amount. Give Your Rig a Caffeine Boost with Ashdown Bass Pedals Specifications High, low or blended filter oscillation frequency Sensitivity sets the amount of effect 18 volt – Power Supply Included
Here's what Ashdown say about the Velvet Compressor: A principal use of any good compressor is an effect to smooth out and level the dynamic range from the instrument. Whilst most modern bass amplifiers are equipped with a much-simplified version of this type, some lack this key feature. Designed to make your bass sound silky smooth, The Ashdown Velvet Compressor is a stunning, well-rounded compressor pedal. Give Your Rig a Caffeine Boost with Ashdown Bass Pedals Single Dial The Velvet Compressor is a simple pedal with advanced circuitry. Just one knob adjusts several parameters simultaneously – Gain, Ratio and Threshold are all synchronised and adjusted with the “Compact” knob whilst Attack and Decay are optimised and pre-set to suit the signal passing through. Input/Output In use, the Velvet Compressor should be set so that the volume does not change when the pedal is switched on/off. This is achieved by adjusting the “Input” and ‘Output” level controls. The “Input” rotary control has an accompanying 3-band (white blue and red) LED light control to assist you in setting the perfect input level before hitting the compressor. The light tickling the blue being the recommended amount. With your input signal at its optimum, set the overall output of the pedal into the amplifier with the “Output” control.
Here's what Ashdown say about the Studio One Compressor: As a hardworking bass player – and at the detriment of your reputation – the demand for a perfect recording session is paramount. By nature, studio compressors are widely used for levelling the audio signal, limiting to prevent unwanted distortion and for dynamic range preservation. Generally, a good studio compressor, if used correctly, should really only be noticeable to the player and imperceptible to those listening to the performance. Designed with the studio bass player in mind, the Ashdown Studio Compressor tames the dynamic range of your signal so that there is less inconsistency between the loudest notes and the quietest notes and also providing a way for you to control the manner in which it does this. Give Your Rig a Caffeine Boost with Ashdown Bass Pedals Controls The Studio Compressor has controls for “Threshold”, which sets the level at which the unit starts to limit the signal, “Ratio” which sets the amount of compression and an overall “Gain” control which allows the signal level to adjusted. A low threshold ratio vs a high threshold ratio means how much (or little) the signal will get compressed. Typically, a low threshold compression comes in earlier, capturing the signal and wrapping it sooner before putting it to the amplifier. High threshold compression comes in later - enabling more of the signal from the path to be put out to your amplifier before being compressed.
Here's what Ashdown say about the Phone-Box: Whilst the plethora of new style lightweight portable low power bass heads feature headphone output sockets - they are not usually included in the feature set of high end or vintage professional Bass amplifiers designed for live performances, this can present a bit of a problem when you need to use such a head or combo in a restricted environment for silent monitoring when recording or rehearsing. The Ashdown Phone Box addresses this problem, designed for use with most types of solid state amplifiers, the phone box connects between the amp head and speaker to allow connection of headphones to amps lacking a headphone output. Also provides a line out 1/4 jack plus a balanced DI. DI Box The Phone Box can be used as a DI box. As before, connect the output of the amplifier to the Phone Box using the socket marked ‘AMP’ and then connect your speaker cabinet to the output socket marked ‘SPEAKER’. Lastly, take a balanced signal to the mixing desk of an In-house PA via the ‘BALANCED Di’ output. The ‘Line Out’ can be used as a recording-out into your audio interface. The Line Out and Headphone Outputs can be used at the same time, as can the Balanced Di Output. Specifications Connect a speaker cabinet if required for on stage or studio monitoring Balanced Di output for connecting to a mixing desk for FOH or On Stage Monitoring 1/4” Headphone output socket for use with any quality headphones. We recommend Meters OV - 1 Balanced line out