The RM-210T cab Ashdown sent us is constructed of lightweight ply , wrapped in heavy-duty Tolex , and fronted with a black cloth grille . The cabinet features a pair of custom 10 " Ashdown White Line speakers and , according to Ashdown , these lightweight drivers deliver more midrange while preserving the low-end response . The tweeter is controlled by a 3-way switch , which offers simple and effective manipulation of the highs .
Root-ine Inspection My initial experience with the Rootmaster test rig started off a bit , shall we say , scratchy . As I went to adjust the bass control of the RM-500 , I cut the top of my index finger on the edge of the black chassis . Upon closer inspection , there were burrs above the treble knob as well . I ’ m typically forgiving when it comes to budget-friendly gear , but I can ’ t be without my fingers ! ( Ashdown told us this was the first complaint of its kind and that they would be contacting the factory to ensure it doesn ’ t happen again .) Despite this , the Rootmaster rig was easy to handle . The lightweight components provided one-trip transportation from car to stage and never caused fatigue over long walking distances .
Most of my time with the Rootmaster rig took place at a blues jam with two guitarists , a sax player , and a drummer . I split my playing between a Nash P-style and an F Bass BN6 to tinker with different tonal combinations . As a baseline , I disengaged the EQ , compression , and drive controls , and started out by plugging the F Bass into the active input . Once I set the gain level with help from the VU meter , the sonic qualities of the Rootmaster rig were revealed .
Characteristically , the affordable Ashdown pairing has solid but not overpowering lows , strong midrange , and cutting highs . The power delivered through the RM-500 is impressive , though I felt the RM-210T didn ’ t quite maximize the sonic fortitude of the amp . This was confirmed when I swapped in another lightweight 2x10 cabinet , and the difference in projection and perceived volume was apparent . For the remainder of my time with the gear , however , I returned the RM-500 to the RM-210T for a complete critique of the Ashdown components .
I explored the EQ next , which is voiced well and addressed tonal enhancements with ease . For example , a careful boost of the bass and low-mid controls nicely pumped the notes of the F Bass ’ s 6th string . Meanwhile , the flatwound-equipped Nash benefitted from a boost in the middle and high-mid control , which added presence to the powerful P-style bass .
There is an ample amount of compression onboard the RM-500 when needed . I found that dialing the control too far past 10 o ’ clock really squashed the tone , but judicious application of the comp gave my 16th-note passages and slap lines punch and consistency . It also assisted both basses in punching through the overall mix .
The drive and sub features likely won ’ t replace your favorite stompboxes , but its nice to have them available for spicing up your tone . The sub control required a significant amount of cranking to balance the effect with the signal , but it added heft and thickness for heavy blues tunes like “ Born Under a Bad Sign .” And while it didn ’ t track quite as well as some octave pedals out there , it did its job nicely for an occasional sub-harmonic moment . Next , I checked out the amount of grunt and grit I could glean from the drive circuit . While it supplied a pretty tame wash of dirt at lower settings , cranking the drive gave my Nash gut-punching girth combined with gnashing distortion , and it managed to satisfy Deep Purple ’ s “ Space Truckin ’” with ease .
The Rootmaster rig survived the night while providing me with mid-friendly bass tones and some useful effects . I really dig the black-and-chrome look of the amp , but the dark labels were a touch difficult to read against the shiny front plate and made initial tweaking a bit of a challenge . To be fair , this likely wouldn ’ t be a concern in the long term once familiarized with the amp .
The Verdict The Rootmaster series provides a lot of practical features at a friendly price point . For less that $ 800 , you can commandeer an amp / head portableamplification combo that will suit any small- to medium-sized venue . It ’ s an ideal setup for a beginner looking to transition from a combo amp to a gig-friendly rig , or a weekend warrior who ’ s tired of schlepping a cumbersome head and cabinet . Despite the minor QC issues found on the test amp , the RM-500 and RM-210T pairing represents attractive , no-nonsense bass amplification that delivers a nice taste of Ashdown ’ s sonic excellence .
CLICK HERE TO WATCH A REVIEW DEMO of this amp .
Ashdown RM-500-EVO
$ 499 street ashdownmusic . com
Tones Ease of Use
Build / Design Value
PROS A portable head with clean tone , a decent compressor , and solid power .
CONS Sharp edges on chassis . Labeling difficult to read .
Ashdown RM-210T-EVO
$ 299 street ashdownmusic . com
Tones Ease of Use
Build / Design Value
PROS Great looks and mid-heavy tone in a portable package .
CONS A bit shy in the lows .
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