I've had some thoughts along this line too. Being locked into one od tone, no matter how excellent it is, doesn't seem like an ideal situation. What I'd like to do is find some empty space on the bottom or back of the chassis, room enough for 3 small pots, and drill holes, and install some pots, and sub them for the trimmers that are buried inside the amp. Finding a good place is the trick I think - you'd want the wire run to be fairly short, and away from other electrical interference. Hmmm...

it is kinda frustrating. i'm actually considering disconnecting the post OD tonestack all together and converting my PAB to the pickmaster cleanboost Mod just do i don't have to deal with it anymore. grrrrr

Halleluiah !

For me, the best Dumble tones are from NON HRM tweaked amps.
I was lucky to be around Robben’s and Larry’s sound checks and rehearsals in London trying their gear. Because I used to tweak friends amps, I had my nose inside of several two rocks, fuchs, bludos, D’ltes, skrydstrups, volt and ceriatones.
I repeat, personally for me the best tone is coming out of 80’s high plate ODS with Bluesmaster-ish preamp and slightly tweaked OD section.
Additional options are: regulated clean mega boost and super drive channel with additional relay and foot switch.
Also it would be fear to say that recently I tried Bludo Ojai and loved it. Great clean and OD but dreadful PAB though.

Cheers

Yes, second that!! Playing my HRM50 now for around 8 months - and NOW I'm getting to it!

The deal really is: PLAY IT as often as possible! In different locations, try different settings, different speakers, spend time with it. You might begin to think about the pickups your using. I put out the SD JeffBeck on the Brigde of my Esprit, cause its too "heavy" and "stuffed" for that amp in my ears.
I'm still in the learningcurve how to "play that thing". Played a Matchless DC-30 for almost 20 years in front of that and was used to: Plug in and play (loud) cause there are really not that much"options" on the Matchless as - take it or leave it.

But the HRM is totally different and - at least for me - it took a long time to understand, or better "feel" what and how to play with that amp. First noticed: The differences between guitars feel bigger, compared to the (still great responding) Matchless.
And this changes the way I pick (for example) which changes the overall sound.

What I did:
- changed the power tubes (but just because I broke one)
- checked 5 different speakers
- changed the V1 and V2 to lower gain, darker sounding Sovtek 12AX7WA (really old ones, that have been in an old Sovtek Mig30) and that put me in the "zone".
- did rehearsals in different rehearsal rooms
- changed the bridge PU on the guitar
- adjusted the HRM tone settings to have the lead sound with PAB engaged and that way the "normal" overdrive (no PAB) is now almost clean, what I like, cause adding the rc-booster to THAT, gives a really nice fat (L.Carlton-)tone with the neck PU on a ES335
- adding a ts-808 (with almost no gain) for nice more overdriven tones at PAB-off
- also the volume stettings are VERY important. I do use a c-lator with the tc2290 and it took my quite a while to understand what turning up the input dial on the c-later can do/not do for the sound.
- the deep switch actually has big effekt to the response of the amp (I think). Took me some weeks to "emotionaly feel" how it effekts the sound and therefore my playing ...
- the amp sounds pretty different "alone" as "with the band". When dialing into a good "bandsound" the same soundsetting played "at home" sounded not really well and vice versa. But it DOES sound much better WITH a band!

The point I wanted to make: This Amp is more a "musical instrument" like a guitar. And as we all know: Guitars are female. And females have "their days" and don't really understand the "technical approach" ... and also give "her" the TIME

I think the way to implement that idea on Nik's amps is to

1) Add HRM board to OTS.  From talking to him, the placement and screwholes are there, all you need is the board;

2) Remove pots on board and wire up to concentric pots on the front so you have T/M/B for both pre-V2 tone stack and post V2 tone stack, using concentric pots/knobs

3) Change the caps and slope values on the HRM TS board, thats presonal preference but I don't care for the values D used there

4) Have a push/pull to make the amp switchable from non-HRM (basically just bypass that tone stack) to HRM.