galore

Is Scout 4 ohm?

These pedals are amazing running always on for a slightly germanium-flavored sound, a very gentle bump at about 100-150 Hz and very cool mid saturation. Dimming the internal pot for more aggressive overdrive (which is still very light even at maxed settings) slightly low passes treble content. Very musical pedal, one of my all-time favorites, I got two of these because you never know what tomorrow brings. This one is v1 with internal trim pot and not so intense pink color.

Trades for chorus welcome.

I agree. It has a specific sound but I have too many drives. I will probably regret it if it sells.

Price dropped to £110 posted

For sale I have a Wren and Cuff Mercy Phuk colossal overdrive in completely mint condition. Two stage progressive clipping plus girth switch for altering mid frequency focus. Amazing overdrive/distortion, especially with a boost in front of it. Shipping is included.

I am interested in trades, particularly for Smallsound/Bigsound Mini, Wren and Cuff fuzzes, Fuzzrocious Demon, maybe something else.

Please note there may be import tax as I’m outside of UK

I owned svt 2 and svt 3 at the same time. I also played svt 3 pro on several occasions. 3 and 3 pro sound similar in my opinion, they have enough power and are portable and don’t take a lot of rack space. I enjoyed svt 3 but svt 2 is, for me, just above any other amp I have used so far and I went through quite a few. Really rich, full, even sound and the best overdrive I have ever got on bass. Sound outweighs extreme weight  of the amp for me.

On 16/02/2020 at 22:21, Beedster said:

Whilst I get the idea that this thread is about knowledge and experience of the SVT-II, I also think it should be in praise, so here's my thoughts on my SVT-II as posted in Donslow's original thread yesterday

Just reread that and remembered why I sold - and then bought another - SVT-II. The answer to 'what comes close' in my experience is nothing, seriously, not even the SVT-VR and the rest of the Ampeg large tube amps range. I'm no tech so can't tell you why this is, but I can say that having sold my first SVT-II, and realising my mistake, I owned two SVT (US re-issues) before realising that they can't do what this amp can do. I've also owned pretty much every large amp Mesa have made - 400+, Prodigy, Titan, M-Pulse, Big Block 750 and Buster, as well as a Aggie DB-750, some pretty nice pre-amp power amp combinations, including an Aggie DB-659 with an SVT-300 power amp (which got close), but nothing among that list makes me feel what the SVT-II makes me feel. And music for me is all about feeling, I'm not a great bass player by any means, but I love how I feel when I play bass on my own or with the band, and a huge part of that feeling for me is the tone, and the sheer psychoacoustic pleasure I get from this is irreplaceable. So for me, the SVT is an emotion machine, something that I can't quantify in mechanistic terms, but something that adds a huge amount of what is important to me into my experience of playing the bass. If I ever get to the point at which my back is too weak to carry it, I'd happily spend the £300 or so required to get a very high quality rack/trolley case for it, and if it meant a two person carry onto the stage, so be it. I use it even at small gigs, not because I need it, but because I like it (and unlike some tube amps it does quiet pretty well). 

So, the SVT-II is my emotion machine

I share this take on SVT II, I have a non pro from June 89, with a fixed power chord. I’ve been lucky enough to own and play many amps and the II non pro appears to be the one for me. I also did A/B between II non pro and VR at one point during a recording session and everyone preferred II non pro over the VR. The difference wasn’t huge but it was enough to sell the VR. The II non pro just had fuller sound, more controllable mids and better punch. I also had Mesa 400+ for a while hoping it to be a counterpart to the Ampeg but in the end didn’t live up to it in my opinion. One thing I really miss on II non pro is that it officially doesn’t do 8 ohm, it would be a lot easier to use with different cabs if it did.

Sold.

Sold.

Yes indeed, it can be used as an always on pedal at some settings.

I don’t really need this one. It’s a very nice sounding compressor with inherent colouring, subtle but noticeable. Low fixed ratio, simple controls and great sound.

The pedal needs center positive power feed but adapter cable is added for use with regular center negative power supply.

Shipping is included.

Sounds and looks amazing. Too bad it's over my budget.

Up for sale is this bass overdrive and distortion pedal in white finish, limited edition. A great bass drive with clean blend, tone shaping at two different notch frequencies, depth (bass) boost and very musical saturation. Internal trim pots for further tone tweaking are available.    

The pedal is in great shape with only a minor dent on front face to the left of the footswitch, flawless operation and will be shipped as shown in photos. Takes 9 V battery or center negative power supply.

One of the best bass overdrives available.

Price includes shipping. Now £190.

Pedals I would trade for: a nice HPF, Analogman Mini Chorus, Ampeg Scrambler, Southampton Fifth Gear, Wren and Cuff Phat Phuk, Swell B-Peg, Digitech Jamman Express.

Sold

£185

£195

Up for sale is this Malekko Heavy Industry Bassmaster bass fuzz pedal. 

It’s a silicon version in great condition, with original box and plastic teeth. Power supply is not included.

This is an amazing fuzz effect pedal for bass guitar and other instruments. Separate clean blend control (bass) makes it easy to counterbalance fuzz (donkey). Sensitivity sets intensity of effect while harm and donkey switches combined offer 4 different voicings. It’s a versatile pedal with fuzz sounds ranging from tight and edgy to over the top. There is no shortage of low end unlike with some other fuzz boxes.

Shipping is included in price, £205 ovno.

Trade possible for Analogman mini chorus.

Sold.

Up for sale is my Darkglass Vintage Microtubes overdrive pedal. It’s a great harmonic distortion simulation pedal with simple controls: drive level, tone, clean blend and output level. Tone control makes it very versatile, from vintage low-passed to modern overdrive with very musical high frequency content. The amount of drive can be anywhere from very subtle to full blown, bordering to distortion. Drive and blend offer many combinations.

The pedal was always taken care of and always stored in a pedalboard. It is mint and comes with original box, a sticker with Darkglass motive and unused plastic feet, it is basically as new.

Shipping is included in price.

Sold!

Up for sale is this DE-CL, compressor and limiter in one pedal by FEA Labs. The pedal was bought from FEA and always kept on pedalboard. It's almost unused, therefore it's in mint condition - see pictures. It's completely functional, no defects whatsoever. It has an internal trim pot for threshold sensitivity. The pedal has velcro on the back which can be taken off if requested. I don’t have the original box but I have all the papers including invoice.

Tradewise I'm interested in FEA Photon Fuzz II and Damnation audio MBD-1, no other trades please.

Shipping within EU is free. This is a great dynamics control pedal, the saturation feature is phenomenal. Reason for sale is lack of use and it just takes up space on my pedalboard. Here’s your chance to get a mint FEA pedal.

Description from the manufacturer:

The FEA DE-CL utilizes two sidechain control engines for audio signal dynamics control. The compressor sidechain is based off of the FEA Opti-FET compressor sidechain for its smooth compression qualities. The
DE-CL’s limiter sidechain is optimized specifically for high performance limiter operation. The limiter has an adjustable attack so that it can also be used as a very high ratio compressor if desired. Both the limiter and compressor control a single optical gain cell in the audio path for parallel processing of the audio signal dynamics. This compressor and limiter configuration allows for multi-slope compression that is found in some high-end rack units.

This is the first FEA compressor/limiter that utilizes adaptive release circuitry. Adaptive release is sometimes referred to as “program dependent release” by other compressor manufacturers. Adaptive release is designed to behave more like the dynamic response of our human hearing. If the instrument signal triggers the threshold in short bursts then the release will be fairly quick. If the threshold is continually activated over a period of several seconds, then the release will be slower. This adaptive release sounds very natural and balanced.

The DE-CL utilizes audiophile grade Burr-Brown SoundPlus™ operational amplifiers for audio signal amplification. The Burr-Brown™ amplifiers were specifically chosen for their outstanding audio performance. The output amplifier circuit also contains a warmth control. The warmth circuit is designed to integrate amplifier characteristics and harmonics
that have a warming tonal presence. With the warmth control set to minimum, the output amplifier operates in a clear, linear fashion for very low distortion. As the warmth control is increased, the output amplifier is made to operate in an increasing asymmetrical mode along with transient nonlinearities. The range of the warmth circuit is very large and can create tonal warming harmonics far beyond typical warm sounding amplifiers.

Up for sale is Ampeg SVT III, the predecessor of the 3 pro. A year ago the fan bearing was replaced and the amp was generally checked by a certified tech to make sure it is 100 % functional. The amp is very well preserved, always kept in rack case. Clean and articulate sound, 350 W at 4 ohms, 200 W at 8 ohms, it has the same preamp as the SVT II non pro. Reason for selling is lack of use, I have too many amps and this one has to go. Partial trade possible for malekko bassmaster and some cash my way. The amp is located in Slovenia, insured shipping within EU is about 50 eur, depending on buyer’s location.

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