Hey T,

Felt the same way when I first got my BM100. That was about a year ago.  I think for me, the real help came from letting everything burn in.  I am sure this is posted above, so let this last comment just count as a +1 for me.

Another thing I did that greatly improved the OD was to drop an RCA 12ax7 in the V2.  Got an (Almost)NOS from Mike at kcanostubes.com.  Great guy to work with and at $50, hard to beat let me tell you. 

My 2 cents.

St. Ephen

Hey T,

Well, as funny as this is going to sound, I am running my BM100 along with a solid-state Princeton Chorus from like 1999.  Blasphemy?  Possibly, but it does sound pretty good.  Here's how it works.  I have a Furman pedalboard with stereo outs, and I am running a Hardwire RV-5 and DL-8.  Digitech did a great job with these pedals, BTW, they both feature stereo ins and outs.  Both of these pedals are in the effects loop, so I run a cable from the stereo out on the Furman (which carries the signal of my "pre-amp" pedals, ODs, comp, wah, fuzz) into the stereo in of the reverb, patch cable to the delay, cable out to the Princeton Chorus.  Dial in a decent clean sound with it (cleans are where this 2x10 combo really excel), and I have my lovely Dumble OD with a clean mix, plus some wet/dry variation from the reverb (and delay when it's on).

-S

Hey Django,

So, the 'lators are supposed to take the hot-ass signal coming from the 2nd OD stage (essentially out of V2, the middle preamp tube) and allow you to kick it down a notch so that it doesn't distort your effects boxes, many of which can't handle the signal in its raw state without clipping.  So the signal comes out, and the first knob on your 'lator (Drive with the C and In with the K) is for reducing the amount of signal you want coming into your effects loop.  Full clockwise is unity gain.  Usually, you set this at noon or 1 o'clock.  The next knob (In for the C and Out for the K) is how much of the adjusted signal you want coming from your effects back into the 'lator.  You usually set that at full.  The last knob (Out for the C and Recovery for the K) makes up for any volume lost by turning down the first knob.  It controls the signal going back out into the Phase Inverter of the amp (far left tube if you are facing the front of the amp).  Essentially, it acts as a pre-phase inverter master volume.  If you set the controls too high, you can distort the phase inverter (PI).  This usually sounds crappy for some reason. 

In any event, the 'lators compress the tone some and give you a bit more control with the Bright switches.  I like both of mine and a lot of folk say they are essential to the "D-sound".  Either way, they are handy as hell to have.


Stephen

I agree with boldaslove, and I own the Klein and the tube-based C-lator.  I much prefer the C-lator, though it is nice to have a backup.  The C-lator has more headroom as well as more control over the volume.  Also, I find the Klein is not as good at retaining the fidelity and overall level of the amp.  For instance, running the C-lator, I can set my OD pedals at unity and not have to adjust that setting as I turn the level up on the C-lator.  The same is not true of the Klein.  This may be a function of the Klein not keeping the depth of the tone, but I'm no electronics guy.  I just play guitar.

Hey All!

For shits and giggles, I emailed Nik about the 200w HRM.  I mean, I had to know, right?  Here is what he said about it:

It IS available to everyone, but as a custom order.

It runs KT-88s.

It has a 12BH7 driver tube like SSS.

IT HAS REVERB.

It will cost around $2k, making this by far his most expensive offering.

@ sduck, I don't find the EV's too bright.  In fact, I find them a very responsive and even speaker.  Now, other speakers may have a mid or low emphasis (the V30 comes to mind), but the EV's don't seem muddy or bright, just even.  

No mods to speak of, though, and I was running it with both the C and the K-lator and without either.

Chiming in --

I have both the K-lator and C-lator.  I prefer the C-lator.  To my ears, it handles the signal better, gives it more warmth while the K is a bit more sterile sounding.  Further, I feel the C gives better control over the volume of the amp.  Just my 2 cents.

Bringing this topic back to the top.

With my Les Paul, I can't run the Bass so low without the whole rig sounding too twangy and too trebly, even if I cut the treble and boost the mids (or vice versa).  I went back to Bass at 12 o'clock , mid at 1:30, and treble at 9:30.  Just works better for me, I suppose.  BTW, I'm running the 100w in full power mod with a Kleinulator. 

Try to find either any EVM-12S or an alnico EV-SRO.  I run a 12L and 12S and they sound great together.

Dboy,

Congrats on your new amp.  A few recommendations from my end: 

I replaced all the preamp tubes with Tung-Sols from KCANOS tubes.  Much better to my ears.  I'm currently running one of his Almost NOS RCAs in the V2 and that sounds great. 

I replaced the power tubes with TAD 6L6-GCs.  Also better.

I have both the Klein and the C-lator.  I prefer the C-lator, but I've had some issues with it.  It'll be going into the shop in January, so glad I have the Klein as a backup.  The C-lator just gives a better sound, IMO.  Can't really describe it.

Running it through a 2x12 with an EVM-12L and EVM-12S.  GREAT combo there.

Hardly ever run it in half power mode, so I can't really comment on it. 

I agree with citizen that the amp is great for pedals, though I feel you really need a loop buffer for modulation-type boxes. 

Hey Sloe,

Just wanted to say that I went from a modded Bassman LTD to the Bluesmaster 100w.  Never looked back.  I loved the Bassman, but I needed good OD at lower volumes. 

Side Note: One thing I did to mod out the Bassman was to swap out the Jensens (I really hated these speakers) for the older Eminence Blues, which I really liked.  Which did you prefer? 

Never tried the Bluesmaster with 10" speakers, myself, but I think Tone is right that Pickmaster did.  Check out his postings. 

Sourmash cabs used to make one.  I know that Gabkits can custom make you one as well.

Just to add a different opinion and some suggestions for Sloe.  I have the 100w, so I can comment on a few of things I've learned.  I know that TC doesn't like the EVs, but I can't say enough good things about them.  But they do have to be broken in.  I haven't found a better speaker, and yes,  I have tried the Golds and the Weber Alnicos (50w).  Tried it also with a V30/G12-65 combo and 2xG12-65s.  No comparison, EV all the way.  Though people say they are transparent, that's not entirely correct, as there is a low-mid spike.  It's just that the spike is in a "natural" place that makes the speaker sound transparent.  That may not sound logical, but that's what I've learned from TGP and other sources.  Make of it what you will.  What I know is that the character of each guitar I own comes through better with those speakers than any other, and the amp's tone controls seem to work better with them as well.

50w v 100w?

Good question.  I'd go with the 100w with a half-power switch and PAB trimmer, as well as one of the loop buffers, either the Kleinulator (solid state but cheaper) or the C-Lator (tube-based, but more expensive.  I think it sounds better, though it is a rack unit.  More on this later).  The buffer allows you run modulation pedals like delay, reverb, etc, without overloading the unit causing clipping.  It also acts as a pre-Phase Inverter Master Volume, allowing you to get great sounds at lower volumes.  Also, the first knob on the amp is a Volume control that adjusts the input volume from the guitar signal chain.  Like a saturation control, you can use it to push the clean channel into compression and OD, even with the 100w.  Combined with the buffer, you get lots of control.  All in all, there is no question: get the 100w. 

You can get a custom head cab built with a rack slot to fit the C-lator.  Get the amp without tubes and swap in Tung-Sol 12ax7s (make sure you get them from a supplier that tests them) and TAD 6L6-GCs. 

@ Chris, I agree with hywelg, just keep playing it.  When I got the amp, I turned it on, set it on standby, and went to bed.  Next day, I played the hell out of it, and I can speak for the amp rounding out and settling in.  It's amazing the difference.

@ ToneControl, regarding early breakup, what are the other settings you are using?  Are you speaking of 2 on the Volume (first knob) or Master?  If you are running the preamp vol high, that *could* account for it.  But I'm thinking it may be a bad preamp tube.  It shouldn't break up that low.  I have a 100w w/ a 1/2 power switch, and I still just get saturated, compressed cleans when both the Vol and Master are at 5 on the 50w setting.