Brilliant work TassieV,
Can I ask how much this has cost you so far?
Of course one would still have to add the cost of a Chassis and a Cab for a complete build.
Phil.

Hi Joe,
Yes, trimming the hi Freq is critical to getting a good sound and it's more than one might assume.

If it helps, "mictester" (Member on FSB) posted a circuit called "Really Smooth Overdrive" (RSO) which I breadboard tested which pretty much kills anything above 1kHz,, (IIRC).

With big fat humbuckers you will instantly recognize the signature sound of guys like Santana.

You should be able to read this without being a member if not I'll ask Mic if I can repost it here.
https://www.freestompboxes.org/viewtopic.php?t=8763&hilit=RSO

Only down side, it was a bit noisy due to the 3 series 100k resistors (I think) but that was on the open BBoard so maybe in a box it might be better.
You will most likely need a tone stack Pre or post the circuit to get the best out of it.

With regards to low end cut,,, well if you have an Amp with a lot of headroom then likely you will have little problems but with small low wattage practice amps or anything that has a less than ideal power supply then you have the issue of the bass farting out at higher volumes due to the simple reality that bass frequencies require a lot of power/ current to stay clean.

The first vid on that MG400 link by "Sophie Burrel' You can hear the hi freq crud spitting in and out on some of the notes in some of the riffs (Especially the first one).  This is the whole reason why I hate those kind of pedals.
The spitting is very similar to grid blocking distortion in Valve rigs where the sound actually cuts off for a few Millie seconds.
I honestly can't understand how one could possibly enjoy trying to play screaming riffs with that happening.

I understand metal players seem to like that edgy stuff but to my ears you loose note definition and hence clarity it just becomes a blur of buzzy annoying sound.
that pedal would be ok if you wipe off the hifreq and fix the that cutting out issue then I'd think about trying one out.

My rig (which I just posted a video about) can do heavy metal if I wanted to do so and it does not spit or splutter,, each note holds and sustains perfectly with Really Smooth Distortion. Hey I might even try to do another short demo with it on full,, but life is full up for the next few weeks.

I have an old Digiteck RP200 and I spent many hours trying to dial in anything worth using and found some of the modulations were useful but most of the cabs/Amps sims where just totally annoying buzz saws.
I did send the output into my PhAbbTone and analog cab sim and it did kill off the extreme HiFreq Hash. my cab sim setup kills the hi at around 3.5kHz.
IMExperience A lot of those cheaper modeling pedals go way past 5kHz.
Phil.   

I checked the link,,  Humm???
well Except for one, all the video demos are about metal sounds which of course is fine for the younger gens,, oh sure I'm getting old but there are still some of us who actually play live and play tunes,songs and melodies. NOT just scales.

Without Melody music is just Noise. (Rant below)

My old fart brain is leading to this observation;

Yes there is a place for this stuff,, sure in a studio or in your room it's great to experiment and I urge folks to do that but it's only one part of a very complex
story. 
You can spend hours tweaking all the parameters at home thinking you have dialed in tone nirvana only to find on stage it becomes a mind numbing blur of noise.
Sadly most of them you can't instantly tweak on the fly in the middle of your well practiced lead break.

I've watched this disaster unfold many times on stage to players who use all in one pedal boards. What sounded fantastic at home often sounds crap on stage.

Which is why I have learned to use basic pedals into flat response Amps.
My rig is bandwidth limited to remove all the Hi Freq hash which is nearly always present, especially in digital gear.
Players having heard me singing/playing on stage, (often younger ones) ask me why they can't dial a decent tone like mine?

Simple answer; You have Way too Much Bandwidth.

I have here an old RP200 all in one digital pedal unit that I scoured for a few dollars.
I spent a few days trying to coax something useful but nothing was gleaned from all my tweaking. I have repaired many of these types of pedals so I know what to expect.
Interestingly I ran it through my Phabbtone and Analog cab sim box and it did improve the result. So even with all the digi fancy pants amp/cabsims there was way to much hash. (read below, rant on guitar bandwidth)


Sadly that RP200 unit is all about distortion and very little chance of pulling a touch sensitive response from that unit.
Of course the RP stuff is old tech now and there is much improved gear now.
But still I've not seen/heard the newer stuff pull of the touch sensitive trick that well. I'm sure the Kemper and like are vastly better but I'll never have the money for that.

So for me I only need about 3 or 4 sounds which I can access on the fly.
The occasional tap tempo on the echo and a tweak to the tone is all that is needed
I use 3 OD pedals so one on gives a little triode rattle, 2 on gives a driven sound ,3 on gives the fat distortion. The Gain knobs on all 3 OD's are only dialed at around 9,10 O'clock. This gives a far better transition from clean to full Distortion.
I've found that using one Dirt pedal to "Do I All" has never worked well for me, you need to build it with a few units.

Rant on Bandwidth;
Learn to understand your instrument.
the low E string is around 82Hz, top open E is 328Hz, top E 12th fret is 656Hz,
If you have 24Frets then the highest note that can be played is 1,312Hz.
So ~95% of every sound produced is below 1,000Hz (1kHz)
So double that for some harmonic content you have 2,524Hz,, and again for sibilance you have around 5kHz, which is the outer limit and hardly useful for 90% of the time.

Now if all you want to do is strum a few chords through a super clean Amp then 20/20 bandwidth might sound half decent. But the moment you want OD/Distortion then the game DRAMATICALLY changes. Even with light OD  all that excess harmonic content is just full of crud/Hash that will destroy any hope of note definition and clarity.

I have found with a lot of Amps/Gear when you turn up the treble, you also get a lot of hifreq boost way above the 1,2 an 3kHz. which defeats the goal.
This is why I depend on my analog Cab circuit, anything above 4kHz is dramatically suppressed. So now when I turn up my treble pot it is only boosting that 1kHz to 3Khz and everything above that is effectively not heard.
Tweaking the "Whole System Tone" in this manner goes a long way to resolving what for the Average player with little TRUE understanding of tone shaping becomes a never ending search, often emptying there bank account and still not finding meaningful results. 

In the older Valve amps, (Note I said older) the circuits "By Design" rolled off a lot of hifreq crud so when they distorted they were not so harsh on the ears.

As I have come to understand this can be done with SS gear,, in my case relatively cheaply.

Melody;
       You can learn every scale until your fingers melt but without Melody it's just notes that become a blur of noise. and annoys Mum.
Tiss good if you learn scales but don't ever loose sight of the Melody
Chaps like Joe Satriani are examples,, a true master of how to use those scales to enhance the song but they always lead back to the main melody. Listen to "Always With Me, Always With You" and "Surfing with the Alien" as example.

**A simple FACT;
Melody, is how we remember Songs,, Few will be able to remember all the fancy scales you spent years learning,, but they will instantly remember a tune, even years later.**

Well that's enough from me today,, hope it helps someone out there in this over tecked up industry that often does not deliver.
Phil.

I found this by accident,
Jim Has spent a lot more money on his research than I have and has arrived at a similar observation as myself about guitar Sound/Tone?

Well worth the time if you want to know just how to make it work without spending a fortune.

Make sure you watch the last part about his Tackle Box,, it will seriously challenge the tube freaks.
Phil.

https://www.youtube.com/watch?v=wcBEOcPtlYk

Tech marketing for another form of tone control.
Passive EQ,Shelving EQ, Graphic EQ, Parametric EQ, Cab sim EQ.
They all work in different manner but when it all boils down cab sims is a fancy tone control circuit.
Now every other new pedal gizmo has a digital version of every cab you can name.

Every stage of a circuit can alter the tone shape, sometimes a little sometimes a lot. from pickup to speaker all can effect the end tone result.
Phil.

I think Joe means you have a TRS  (Tip Ring Sleeve)

Short the Tip to the Ring gives you the 3rd possible connection which may trigger the 3rd option.
Phil.

Thanks Joe,
I was not sure what the hell I was trying to play.  lol
The cameras audio setup tends to compress a fair bit which effects the outcome which does not give a true representation of the sound/tone and dynamics, but better than nothing.
Here is the PhAbbToneV4 schematic for you, Also adding pics of the rig.
Phil.

Being that a have talked a lot about how to shape your guitar sound, I thought it was about time I posted a link to my Rig setup.
Just a 10min vid of my gear and a basic explanation of how it all works.

I've tried to keep it short and keep talking to a minimum and let the gear speak for itself. An All SS setup using a cheap strat copy.

I could not find a way to show the Amp, Pedalboard and myself in the same frame so I figured the best idea was to show the guitar and pedal as that's what most will wish to know.

My aim was to create a small rig that was versatile for my needs which is playing, singing and some lead sounds that covered the basic needs of a decent Rock&Roll guitar rig.

Might help folks who are searching for ideas on how to setup a rig.
Phil.

https://www.youtube.com/watch?v=8ywRd1xcFX8

Glad it helps,, I'm not qualified enough to understand some of the more complex power amp designs but yes once you remove the current protection it makes more sense.
I've designed a few plain and simple power stages and had great success just by installing a PTC on the output. In this case one PTC would replace 18 extra parts and as likely in this case the Protect circuit may well be adding to the problem.
If a poly switch fails the amp stops working and you only need to replace one part.
PTC is a Poly Thermal Capacitor, Often called a poly switch because they switch to high resistance when they reach the set threshold. They do this switch faster than a power transistor can fail, effectively doing the same job as the rather complex current limit in the power amp.
BTW Tassie I buy them at Jaycar if you want to source some.    
Link,,,  https://www.jaycar.com.au/rxe185-ptc-fuses-speaker-protection/p/RN3468?pos=2&queryId=4192c822761e620ef506c2f53a24ce71 

Re my drawing;
I'm still miffed about R69 & R66.
I think R66 is added Fback from output but R69 is really weird as they connect to
C37 & C38 which are filter caps for the opamp supply which I would assume would normally go to ground but they are summed at R65 which goes back to main output.
While R66 takes it back to the junction of R62 & C35.
Maybe better minds might like to comment on that subject.
Phil.

The Blue and Orange traces are the main audio path from U1 output.
Blue side carries positive wave while Orange is Negative wave.
CR5 to CR8 are the bias diodes for the output Tr's.

C39 & C40 are the Bootstrap setup (Google these things to learn more)

R76 is the ground lift to speaker Neg terminal, Current Feedback is then sent through R77 & C35 and returned to pin 2 of U1

The circuit uses both voltage Fback as well as Current Fback.
R65 sets Voltage FB while the combination of R76, R77 & C35 deliver the Current FB and meet at Pin2 of U1.

Remember these amp designs are Current Feedback via R76 so Speaker neg is ground lifted. *So don't ever ground the speaker neg back to chassis Com*.

I've deleted most of the current Protection parts to help you see the circuit in it's basic form,, *Which is just a current Boosted opamp*
Of course without the over current protection the Output Tr's would instantly blow if the speaker wires were shorted out.
(No need to ask how I know that to be true,,    )

So if all the parts in my Edited drawing check out ok then I'd suspect the protection setup has malfunctioned when the Pwr tr's blew.
So that would be Q8 & Q9 as well as those associated diodes an Caps etc.

Now I may have missed something so don't take this as completely correct.
hope it helps, Phil.You cannot view this attachment.

The most likely fail of the power amp was a short circuit or running very low Z speakers at high volume for long periods. Well you could try replacing Q8 & Q9 as they may have blown when the power units failed.
They are just there as over current protection but that setup is not fool proof so now they maybe actually causing the problem. They are not part of the Audio pathway only protection from shorts and over current.
The active audio parts of the power amp are only the opamp front end and the 4 power darlingtons which deliver the grunt to drive the speaker.
Don't hold me to it but I think that the amp might work with Q8&9 removed.
Try at your own risk.   I'm kinda busy at the moment but I'll try to draw up a signal path overlay on the Pwramp section might help you understand the circuit. Phil.

Then the most likely place is the power amp itself. You said in the first post you replaced the 4 power transistors.
Whatever caused them to fail may well have taken out other parts of the power stage.
We have been over the power amp before but maybe there is a need to look deeper into that. You will need better minds to establish just what has failed.

Phil

An electrical technician repair shop.
Often the music store has connections to repair techs, maybe ask them.

You said you liked the Amp?,, so likely worth fixing as trying to shoehorn another circuit into the chassis might be even more complex.
Phil.

Hi Hombre,
           Yes as already noted  most likely blown the poweramp.

If you don't know which are the Power transistors then my advice is that you are better to send it to a workshop otherwise you may well struggle to fix it, possibly creating even more damage.
If you do wish to fix it yourself then you will need to take many tests and it will take a lot of time.
If you have high DC voltage (i.e. 40 volts) at the speaker terminals then you have blown major parts and at a guess you may have to replace most of the transistors in the power amp section.

The good news is that the preamp sections are likely ok as you only shorted the power amp.

Yes absolutely no mojo gain of any sorts by jumping the FX.
 BTW it's not an FX loop as such, just a passive break loop between Pre out and Power in which can be used in similar fashion as a Dedicated FX loop.
It's a shame the designer placed the speaker outputs right next to the Preamp/Poweramp loop as there is plenty of space to mount the Spk outputs on the other side of that back panel.
Maybe don't try modifying the amp in future, changing chips in hope of improvements is often not as good as claimed by youtube geeks.
Phil.

Yes The power supply is the most likely suspect but you said it checked ok so we went looking for other issues.
Maybe your meter is not working well,,they do get old and can give suspect readings especially cheaper ones.
PSU is 4 diodes and those 2 main filter caps.
Phil.