Markbass Nano Mark II Head

I spent several weeks running the Ashdown Toneman 300 Evo III as my primary practice and small-gig head, chasing everything from round Motown-style tones to crunchy growl for rock. I came in looking for a lightweight, feature-rich head that could sit on top of a 1x12 or a 2x10 cab and cover multiple styles without faffing with pedals - and that is exactly the use case where this unit earns its keep.

First Impressions

Out of the case the Toneman 300 feels compact and purposeful - the front panel is busy but sensible, with clearly spaced rotary controls and a VU meter that actually gives useful visual feedback. I was immediately struck by how much low-end control the sub-harmonic section adds; with just a couple of clicks I had weighty but defined bass without flabbiness, which made dialing a powerful rehearsal tone fast and intuitive.

Design & Features

The Toneman 300 is a no-nonsense solid-state head with a 300W-rated output, dual active/passive inputs, a 5-band EQ (with dedicated Lo-Mid and Hi-Mid rotary controls), a switchable sub-harmonic generator, a built-in compressor, and an overdrive/tube-emulation control that can be footswitched. It also includes a switchable pre/post DI on XLR, FX send/return, tuner/line output, and a straightforward speaker output section - everything I expect for stage-ready flexibility is on board.

Build Quality & Protection

At roughly 8.5 kg the head is light enough to toss in a gig bag or rack with modest effort, and the casework is solid - the tolex, corners and handles all feel like they will survive road use. I did notice that some of the consumer chatter online mentions mixed experiences with long-term reliability, so while my review sample was robust I stayed mindful of securing proper ventilation on stage due to the fan-cooled power section.

Playability & Usability

Controls are tactile and reliable; the 5-band configuration plus the Deep and Bright switches let me sculpt the amp quickly between songs. The VU meter is a small but very helpful touch for gain staging, and the overdrive's tube-emulation is useful when I wanted grit without swapping into a pedal chain - I used the footswitch at practice and it behaved cleanly and predictably.

Real-World Experience

I used the Toneman on rehearsals and two small club gigs through an Ashdown 1x15 and a 2x10 cab, covering funk, indie rock and heavier alt material. The compressor and 5-band EQ made it easy to sit in the mix - compressed slap tones cut nicely and fingerstyle parts had a roundness that translated to the room. When I pushed the overdrive and the sub-harmonic control together the result was assertive and aggressive in a useful way, though at extreme settings the low end needed careful taming to avoid muddying the band mix.

The Trade-Offs

The Toneman 300 is feature-packed for the price and size, but it's not without compromises - the overdrive is an emulation, not a true valve stage, so it lacks some of the dynamic sag and harmonic complexity of real tubes. Also, for larger venues you’ll want more headroom than a single 300W head can comfortably deliver, and a couple of users online have reported service/quality variability, which is worth factoring into long-term ownership decisions.

Final Verdict

The Toneman 300 Evo III is a pragmatic tool: small, tonally flexible, and loaded with practical pro features like a switchable DI, FX loop, and compressor. If you need a lightweight gigging head that covers a wide palette of modern bass tones without a big price or weight penalty, this is a smart pick - just manage expectations on tube-like warmth and be mindful of service history when buying used.

I spent several weeks living with the Glockenklang Blue Sky head in rehearsal rooms and a couple of small club gigs, and what struck me first was how little it weighs for the amount of control and tone it offers. I came to it as a working bassist who needs reliability, flexible EQ, and enough power to push a variety of cabinets without sacrificing the signature Glockenklang clarity, and the Blue Sky largely delivered on those needs.

First Impressions

Out of the case the Blue Sky feels rock-solid despite its compact 2U, 19-inch footprint - the chassis is dense, controls are positive, and the front panel layout is sensibly grouped so I could dial things quickly between songs. Switching between input A and B with different gain trims was a handy convenience when I needed to go from a passive P-bass to an active 5-string during one rehearsal, and the LED overdrive and peak indicators made it easy to read the amp's status at a glance when the lights were low.

Design & Features

The Blue Sky packs a surprising number of pro features into a lightweight body - a Class-A input stage feeding a Class-D power section, two switchable instrument inputs with a dedicated trim for input B, a switchable 4-band EQ with a semi-parametric mid-band and an effects loop that can also function as an MP3/mixing input. There’s a balanced, adjustable DI output, a tuner out, a phones output, footswitchable loop/tuner functions, and clear LEDs for function states - everything I expected for modern rehearsal and small-gig work is present and laid out logically.

Build Quality & Protection

I found the metal case, ventilation slots and rubber feet to be well executed - the Blue Sky feels like it can be moved around frequently without worry, and the included rack ears sit snugly if you need to rack it. There’s no frilly cosmetic detail here - Glockenklang leaned into a utilitarian, road-ready aesthetic that matches its functional approach.

Playability & Usability

Using the Blue Sky live was straightforward: the gain and trim structure meant I could quickly match levels between instruments, and the on/off EQ switch is something I used regularly when I wanted a flatter signal for DI or more direct monitoring. The semi-parametric mid allowed me to notch or center a problem frequency quickly, which saved time during soundchecks and cut down on the need for outboard processing.

Real-World Experience

In practice the amp delivers what Glockenklang advertises - a warm, dynamic character even from a Class-D power section. With a 2x10 cabinet at rehearsal volumes I had plenty of punch and clarity for slap, fingerstyle, and growling low notes; on a small club stage it sat well in the mix without sounding harsh. The adjustable DI saved me a couple of times when the house board needed a slightly attenuated DI level, and the headphone output is usefully loud for late-night practice without waking neighbors.

The Trade-Offs

No amp is perfect - the Blue Sky gives up some cosmetic pizzazz and ultra-high wattage headroom in favor of a lightweight, musical package, and if you need monstrous stadium headroom you’ll want a heavier, higher-output head or racks of power. Also, while the front-panel controls are excellent for tone shaping, I missed a dedicated graphic or sweepable high-mid that some players prefer for surgical tone shaping without using the semi-parametric mid as a substitute.

Final Verdict

The Blue Sky is a thoughtfully designed compact head that gives gigging bassists a lot of tonal control and professional features in a very portable package - it’s best for players who want a warm, detailed Glockenklang voice without hauling heavy racks. If your primary requirements are studio-style tonal flexibility with stage reliability, this head is a solid choice; if you need maximum stadium-level wattage, consider a larger rig.