Ampeg F17-1 vs Ashdown Triple Shot

The Ampeg F17-1 and the Ashdown Triple Shot are both pedals sharing mid-forward, full. The Ampeg F17-1 leans warm and harmonically rich. The Ashdown Triple Shot leans transparent and saturated.

Similarity
citedBlended from circuit-archetype lineage, dynamic feel, tone-signal overlap and tone-vector distance — the tone vector itself is derived from editorial description text, not a measured acoustic signal, so this reflects how similarly the catalog copy describes the two, not a lab measurement. Shown only within a gear class, and only where there's enough evidence to be meaningful.

34% — somewhat different

Shared genres
citedGenres both listings are associated with.
  • Metal
Shared tone character
citedDerived from overlapping tonal signals across both listings.
  • mid-forward
  • full
Citation fame
citedCitation/mention fame — how often this gear is cited across artist rigs and gear discussion.
0%
27%
Price
—

$179.99via Reverb

Description

The Ampeg F17-1 is the model designation for the Ampeg Classic Analog Bass Preamp pedal, an all-analog circuit delivering SVT-derived preamp tone and 3-band EQ in bass pedal format. The preamp stage provides up to +18 dB of gain; EQ covers Bass at +7/-20 dB at 40 Hz, Mid at +5/-11 dB at 500 Hz, and Treble at +10/-10 dB at 4 kHz. Ultra-Hi and Ultra-Lo passive switches add classic Ampeg tonal character. Volume control, true bypass, internal -15 dB pad, 9V DC or battery operation. Built into a roadworthy all-metal chassis, offering an accessible path to genuine analog Ampeg bass tone in pedal form.

The Ashdown ADM3S-U Triple Shot Drive is a multiband bass overdrive pedal from UK manufacturer Ashdown Engineering. The signal is split into three discrete frequency bands: Dark (bass), Medium (midrange), and Light (treble), each fed through an independent distortion generator with its own Roast control setting the overdrive amount per band. The bands are recombined for full-frequency output. Requires an 18V power supply (included). The multiband architecture allows bassists to apply heavy saturation to midrange while keeping low bass clean, preserving low-end definition under heavy drive.

Genres
citedGenres this gear is documented as being used in.
—
  • Electronic
  • Rock
Tonal lean
  • warm
  • harmonically rich
  • transparent
  • saturated
Good for
citedOccasions this gear suits — judged per model, or derived from its wattage, connectivity and category.
  • Live
  • Silent Recording
  • Studio
  • Busking
  • Silent Stage
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