thodrik

It is a 12v AC power supply. The power supply model is called '12AC-1000'. https://www.gear4music.com/Guitar-and-Bass/Electro-Harmonix-12AC-1000-Power-Supply/F4Q. I am no valve expert, but this is what I do when checking valves:Turn the pedal off, open the pedal up, remove the valves. Raise the valve to your ear and gently tap the valve with your finger nail or a pen. If you hear a 'ping' or a ring then it is a sign that the valve might have gone. There are few good Youtube demonstrations on good techniques to practice. They English Muff'n uses 12AY7s as stock. You could change them to 12AX7 tubes if you want more gain. In terms of valves, Mesa valves are expensive but easy to source. I have actually just used some JJ tubes in my Mesa amp and they are great. As said above, the issue might be a loose solder connection. If the pedal is lighting up then it probably isn't the power supply which is at fault. Best of luck!

Fantastic post thanks. The data from Genz Benz really clears up a lot of my queries in terms of reliability and the economic cost of repair and how that stacks up with the ongoing cost of repairing a valve amp equivalent. My uninformed worry was that some companies would be designing amps to be like certain brands of smart phones in that they are designed have a short lifespan with the intention that they are to be replaced by a ‘new’ shiny product every 24 months. That is a very cynical view I know and not entirely serious! Of course every company will differ in terms of how their amps are designed in terms of future repair. With that in mind I’m certainly a believer that ‘you get what pay for’ in that respect. Cheers!

It might be the valves. It might be the power supply. The valves should glow but they won’t be that bright. Try changing the tubes or perhaps checking if they are microphonic. When mine broke down it was just a case that a wire in the power supply plug had shorted. I just bought a new plug and the pedal worked as good as new.

There are similarities for sure, in terms of the pre-shape but definitely not clones. The ABM series are capable of a much more of an 'old school' sound. The valve drive feature on the ABMs can allow for much more grit and dirt to be added into the signal. The valve inputs on say, the Trace Elliot SMX I used to have add a bit of warmth to the signal but don't add much dirt. The ABMs have different eq points as well as fewer EQ controls as a 12 band graphic Trace EQ. So an ABM does 'feel' different to a Trace Elliot amp, though certainly with the right tweaking you can certainly get a 'Trace Elliot' type sound on an Ashdown ABM. An Ashdown ABM is definitely an 'evolution' on the original Trace Elliot theme though. It is almost like what Trace Elliot 'might/should have' done in the mid late 1990s by combining the 'old school' style of the V types with the 'hi fi' style of the 12 band solid state heads.

Keep the SVT II. It is a 'holy grail' amp. The SVT preamp into a solid state power amp (which is fairly underpowered compared to more modern amps) will be a nice set up for sure, but it won't nail the all valve tone of an SVT II. Once you put the preamp and power amp together and add in a rack case, the weight will also start to add up as well. All 'in my opinion' though.

Forgive me, I used the wrong words there. I should have said, that in my experience I have found that when MOSFET/hybrid or valve amp power sections have had problems, I have usually been able to get a tech to repair the section without having to incur the cost of changing the entire power section. This makes the repair job economically worthwhile. Of course you are correct, if the whole power section needs to be replaced in a MOSFET amp then this is not any different in changing a module in a class D amp. It is an expensive fix either way. However from your previous post earlier, you had stated that "It turns out that because of the level of complexity and the specialised nature of the equipment and experience required to CORRECTLY diagnose and repair these modules, it's almost always less expensive to replace them than it would be to repair them". So reading that, my thought is that there basically there is generally no economic value to trying to get a repair done to a class D power module in the event that there is an issue with the power module. This means that a cheap fix is never possible, you pretty much have to change to the whole module if there is any fault whatsoever. My basic point is that there is no 'cheap repairs' possible given the sophistication of the technology involved. I am aware that MOSFET/hybrid and valve amps can be expensive to fix too when there is a catastrophic failure, but sometimes the issue is a very straightforward fix at minimal cost. Sometimes the issue is so minor I can even fix it myself (for example changing pre amp tubes in a hybrid head or changing power tubes in a fixed bias valve amp). Amp enthusiasts continue to buy, trade, repair and modify/hot rod vintage valve and solid state amps in the knowledge that if something goes wrong then an economic repair (or even self repair) is usually possible. Given the level of sophistication of Class D technology, this isn't really the case with class D amps as it if something goes wrong a 'cheap fix' or self repair isn't possible, nor is it really possible to modify the amp given the sophistication of the technology involved. The sophisticated nature of class D technology accordingly does make we wonder about the economic value of repair and replacement costs once class D amps are out of the warranty period. As Class D amps get older, I would assume that the current class D power modules would become more difficult to source and replace as newer Class D amps will undoubtedly use newly designed power modules.If a class D amp developed a fault in 2038 that required the power module to be replaced, would the module have to be replaced with a 2018 power module equivalent, or will it will be possible in the future to fit newer power modules to replace the older power modules? I'm genuinely curious and not a sceptical way. I am just wondering whether trying to replace the power section of 20 year Class D power module will be as much 'fun' as trying to replace a twenty year old valve amp transformer or MOSFET power section in 2018. If it is the case that high quality class D amps are far more reliable than high quality valve and solid state amps then great. In that case the cost replacing a class D power module in its entirety on the rare occasion it develops a fault will be more economically worthwhile than the ongoing repair costs of regularly gigged solid state/hybrid and valve amps. Knowing that an amp is very unlikely to fail would perhaps offset my concern that the sophistication of the technology doesn't enable economic repair in the event that there is a fault. I hope that is a better account of my thoughts than my previous statements. I certainly do not at all want to come across as a Class D 'troll', but I do have questions and I am keen to learn more about the technology involved.

I have one. It works great on bass or guitar. Also you can try it with different tubes to give it a different flavour and go for a higher gain/lower gain. I also have/had (it broke) an EBS Valvedrive and the English Muff'n was far better in terms of overdrive sounds.

How is it irrational for me to have a preference for buying amplifiers that can be repaired rather than needing to be replaced entirely if they break down? Since you want to bring cars into the equation, if my car breaks down I generally like to have the option of repairing the car rather then having to buy a new car. Edit: However, yes you are right, it is an overreaction, but I don’t think it is irrational.

No, but getting a new power section installed can be done by a tech instead of having to change the whole unit.

I think that this thread has turned me off from buying any used class D head. At least with solid state/valve amps, pretty much any fault can be repaired. I am wondering if class D power amps will have the long term lifespan of the Trace Elliot, Ashdown and Peavey mosfet amps that have kicking around rehearsal studios and venues for use and abuse as backline for the last 25 years? Mind you, I had a Trace Elliot combo die on me circa 1999 that was considered ‘unfixable’ by TE, who just sent me a new unit as it was under warranty. So basically amps of all types can suffer catastrophic failure and it always sucks.

Pretty much this except I would also add "they are far more expensive to purchase new than compared to a few years ago". I have not bought one but have played a few. All of them were quality basses. I came close to buying one in 2009 but ended up buying a Sadowsky Metro. It was a close contest and another bassist would have preferred the Sandberg. We could pretty much have a 'post your thoughts' thread for pretty much every instrument maker.

I am really tempted by these basses as a new 'back up bass'. They look like a hell of a lot of bass for the money.

Same day reply when asking about a replacement bridge. Never had any issues.

Now that I am using an active bass through a Darkglass B3K (ran nearly on clean) and Keeley Bassist compressor, I don't mind if the sound engineer wants to use a DI box or take a pre-EQ signal from the amp. My basic sound is already set before it hits the amp. It is basically what I will send directly to the desk when recording so it is fine when going FOH. I tried splitting my signal a few times into 'wet' and 'dry' signals but the effort and extra faff was never worth the benefit to me personally. It sounds great when done well but generally when doing soundchecks on a three band bill, I am lucky if I get two minutes to set up a bass sound. When using a passive bass running straight into an amp, I am very wary of using a pre EQ signal unless I trust the sound engineer. I have done far too many gigs where the sound engineer has made taken a pre EQ signal and made a complete mess of a passive Fender bass. Of course, if a sound engineer can't EQ a passive Fender bass, there isn't much hope of them handing the vocals, guitars or drums either. It is for this reason I used a Sansamp Bass Driver on 'kinda like an SVT' settings for so many years when gigging with my Precision. It never sounded as great as using a really top end amp (Mesa, Aguilar, Ampeg SVT, EBS etc), but more importantly it was very difficult for the sound engineer to make the signal sound bad!

I would recommend trying out an A/O if you can though to see if you prefer the flavour. I haven't tried the VMT drive yet. I would probably prefer it to the higher gain settings of the B3K.

Personally, I don't find that the Alpha/Omega is really subtle enough for my 'always on' type of sound. . In terms of my favourite overdrive pedals (the Aguilar Agro and B3K) at very low gain settings you can an almost 'pre breakup' sound, that sounds like valve amp being driven hard before heavy overdrive or fuzz is generated (basically a bit of good old 'clank'.). I love that sound as my basic 'go to' sound. I bought the A/O as a 'bit of crunch' setting because I really don't like the inherent top end 'fizz' of the B3K. The Alpha side of the A/O is a great 'crunchy overdrive' sound which is a good effect for certain parts. For complete full on fuzz though I think that the Duality I have is better than the A/O pedal, even with the extra EQ on the A/O pedal. In terms of the Alpha/Omega pedal at least, I have found that there is always quite a bit of 'hair' in the signal. The Omega side to me is more of a fizzy high end, square wave type of distortion, that I think would be great for more modern metal sounds. The Alpha side is more of an old school fuzz/distortion which sounds great when paired with a Fender style bass. It is more subtle, but you can always hear a good deal of grit in the signal. Basically, if I was still playing in a Djent band, I would be playing with the Omega side. Now that I back playing 70s inspired rock it is the Alpha side. In total honesty, since buying the Mesa Big Block I can get pretty much get my ideal basic sound by plugging straight into the amp and my ideal fuzz sound with the onboard overdrive with the amp which is like a Duality+ on the high gain settings. It sounds like I am overly criticising the A/O pedal, but I want to make clear that it is a really well designed and highly flexible pedal. I just don't think that the initial design of A/O pedal warranted the quick release of the Omicron pedal and A/O Ultra pedal immediately after. I thought the same with Mesa releasing the D800, then quickly releasing the D800 plus. It might be me being cynical but it seems that bass gear is being marketed like smart phones in that products are slowing being released in stages purely to maximise financial gain. Release product A, knowing that you already have Product A+ and product A- pretty much ready to go, knowing that a certain percentage of your fanbase will buy product A and then product A+ or product A-. I know companies and people in the music industry have to make money (I am lawyer these days, so pot kettle black), but some of the Darkglass social media hype and 'OMG' product launch videos and social media 'reviews' that are really paid advertisements are a big turn off for me, even though I will freely admit that every aspect of is extremely well done. It is why I find Basschat so valuable, because people are actually willing to give 'warts and all' real world reviews of gear and are willing to be critical of gear they have bought and actually really like!

Love the set up. I think that I have the same TV! Cheers also for the review. I just have the Alpha Omega pedal. I also very much prefer the Alpha side.

I watched it. As far as being one bass player's personal opinion on he achieves his own personal tone i have no issue with it. In terms of his opinions being passed off as 'essentials' for bass tone I thought it was just another case of opinion being passed off as fact. There is nothing from his free videos that would encourage me to pay money to obtain any of his knowledge. I'm happy that he has managed to build up a successful business but I just really don't gain any insight or enjoyment from his videos. I have slowly managed to block SBL from my social media mentions, but I still see SBL posts here on BC. When I see them I can't help but watch (it is like a drug). For my own sanity I am going to pull myself away from all SBL discussions and would ask the mods on this site to give me a warning if I so much as comment on another SBL related topic.

For me it is ‘I have never looked at Fender factory specs’. Action height is a very subjective and personal thing, as is string gauge choice and the amount of relief a player wants on the neck. Owing to that I don’t think that there is a ‘right’ setting. So long as it works for the player, then it works.

Ten years ago: - fully prepared and learned the songs; - enthusiastic; - willing to bend over backwards to meet other people schedules; - always on time; - always bring a Fender Precision 'coz that iz wot the PROs play'; - keen to play and explore as many genres as possible; - always keen to come up with songwriting ideas, but equally happy to play exactly what is requested when required. Now: - I have a car.

I never liked Pre shape 2 for some reason. I just thought it added far too much low end across a broad spectrum and actually cut the area of mids I actually wanted to boost! As with Pre Shape 1 though, you can rebalance with the graphic eq. I always thought that Pre Shape 2 benefits from a 12 band EQ. I got great sounds with it on my 12 band SMX, but really struggled with it on my 7 band GP7 SM 300 combo. Part of the problem was perhaps with the combo itself, which lent itself to a boxy, mid focused tone to begin with, so scooping mids (shock horror) actually helped balance out the sound. On Pre Shape 1, that 6 db boost at 2k is just too severe for my tastes.

Perhaps, it is also amazing that every single 70s Fender for sale now is marketed as being 'one of the good ones'! My one wasn't good to start with. The wiring was crap and had to be re-soldered The wiring was so bad one of the previous owners had cut the scratchplate to provide for 'easier access' to the jack socket! The neck had also been installed at the wrong angle, so the break angle at the bridge was just wrong. It many years of my playing and setting it up to get it in the playing condition it is now (I love it). It makes me think, 'are the good vintage basses actually good basses, or are they just standard basses owned by owners and players who took care into making sure the bass had a decent set up?

In my opinion the pre shape needs to be re-balanced by adding some of the mids back in via the graphic EQ (say around 300-600HZ) and then taming the ultra lows (40HZ) and ultra highs to get rid of some of the built in subiness and glassiness. Once you do that you can get a number of really usable sounds. Basically I find the pre shape useful as a basis on which to sculpt a sound, rather than a sound in itself. In terms of of the compressor, I am afraid I have not had much experience with that amp, though I did have a similar experience to you when using the compression on the SMX 300 unit I had for a 6-7 years. After the smallest turn of the control there was already too much compression. Too much compression, not matter how good the compressor will kill the sound though so I generally don't use compression that much.

That really does not mean much to me I am afraid. I just play bass and know when smoke appears from the amp or when there is no sound then something is wrong! If an amp manufacturer makes an amp that works on 2 ohm or 4 ohm loads an includes impedance selectors and inputs to provide for this on the back of the amp, then it should work on 2 and 4 ohm loads. The Ampeg SVT II has this so should be stable at 2 ohms. If it doesn't then the amp is not doing what it is designed to do or what the manufacturer claims it can do. With valve amps though, when things go wrong, things get expensive to fix so it best to be cautious. For that reason I would be more wary of using the amp with a single 8 ohm than two 4 ohm cabs. Two eight ohm cabs giving a four ohm load would be fine, but then I would feel obligated to bring both cabs to every gig or rehearsal, which would defeat the purpose of having the flexibility of two cabs. Most non valve amps are 4 ohm minimum, so I wouldn't ever use a 2 ohm load on an amp that isn't capable of doing it.

Just checking the price, very reasonable indeed!