ART DST Eighty/Eighty Head

A 2U rackmount box with a pre-amp, digital fx and a stereo power-amp. Bought in 2002, the amp was a demo rack piece in a music store but essentially a new one, so I suppose it was manufactured in the same year, although I'm not sure. It says Manufactured by A.R.T and Rochester, New York, so I assume it was made in USA. The pre-amp part is exactly the ART DST-4 preamp, the power amp is a 2*80W solid state by Pearce. The box is small, light-weight and has plenty of connections in the back.
The pre-amp section has four analog preamp modes: xtreme, scream, retro and clean tube. The last using a 12ax7 tube. The preamp mode
along with the eq, gain and effects settings can be saved into one of the 99 memory slots, and is then available for recall via midi.
The digital effects include chorus, delay, reverb, flange, pitch transpose and combinations and variations of these. The effects can be tweaked with a very limited editing, allowing only one parameter and the ratio of wet / dry signal be edited. The back panel features a stereo effects loop, preamp output, direct out with speaker simulation, headphone out, footswitch in for effects and preamp bypass, midi-in and thru connections and connectors for two speakers rated at 4 ohms or higher. The power amp also has a damping switch with 'loose' or 'tight' options. Don't know what that means, but to me the 'loose' setting sounds better.
The direct out is way hot. I think it isn't really line-level, and when recording at home I always have to fiddle with the levels. The editing of the effects could also be more versatile. You cannot stack effects (say pitch transpose and reverb at the same time). Some preset combinations are available (flange+delay, reverb+delay, chorus+reverb).

I play mainly classic style heavy metal. A Fender Yngwie Malmsteen strat into a DST-4 preamp then into the Eighty / Eighty hooked up to a Marshall 1960 4x12 cab and controlled by tech 21 midi moose.
I bought this amp originally for home use, as i was looking for something small and convenient with nice distortion and basic effects. For that purpose the sound was good and I played through a 1x12 traynor cab.
The pre-amp can produce a variety of sounds: a very tight crunchy modern metal (xtreme), tubescreamer type overdrive (scream) and warm, clangy or shimmering cleans (clean tube). The retro setting I found useless by itself. As a negative point, you cant really find the middleground between the extreme 'xtreme' setting and the mild 'scream' setting. The extreme setting could also use a built in noise gate. The EQ is really useful in shaping your sound, and together with the effects you can really dial in a lot of different type of tones.
On an impulse I later bought an ART DST-4 pre-amp, because it was a bargain and because of good experiences with the one in my Eight / Eighty. When i hooked them together, oh man!!! The tone really took off. The previous owner of the DST-4 had replaced the original tube with something else, and now tube overdrive sounds were achievable. Especially with both pre-amps on the 'clean tube' setting, I can get a really dynamic, musical, tube overdrive (with enough gain too, unlike with the Eighty / Eighty 'clean tube' alone). My Peavey classic 50 just got replaced the instant I got the additional DST-4, and the A.R.T rack became my main rig. The additional tube drive also made the 'retro' setting usable for crunchy, yet dynamic sound. I never used the retro setting before, now I love it.
I will give a 8 rating, because although good sounding, it wasn't great sounding like it is after getting the additional pre-amp.

The power amp heats up quite a lot, but this hasn't caused any trouble. I'm still kinda worried, because as the reviews below state, this model has been known to cut out.
The casing seems very robust. At a gig I once removed the amp from the rack and accidentally dropped it from about hip level to the ground. One rack ear got bent, and the plexi of the led display fell off, also a vibrating noise is made by the loose front panel when the amp heats up. It doesn't affect the sound and the amp seems to work fine otherwise.

Never dealt with them.

I have been playing for 15 years, and I haven't owned that much stuff. My former amp was a Peavey classic 50 head, previous to that I had some crappy combos. Since switching to A.R.T I have played with guys who have had Marshalls, VHTs and Randalls. I'm really happy with the sounds I get from this amp. I also love the look, the light weight and the ease of use of this amp. I just wish it had a build in noise gate. I've been meaning to buy another one for backup, too bad I haven't come across one. I recommend trying the Eight / Eighty with an additional tube pre-amp. For me the DST-4, Eighty / Eighty, Marshall 4x12 combination simply gives the sound I want.

This is my second ART DST Eighty/Eighty, so see my earlier review for specs. The only difference is that this one is the "stock" rack version, as opposed to my first DST which was mounted in a Marshall-style head shell. It is otherwise identical, which is to say that it has all the features I need. A footswitchable effects loop would have been a nice touch, but it has plenty of built-in effects that would be enough for most guitarists.

This particular amp was used only in my band's practice space, and plenty loud through a 4x12 cabinet when playing with the full band.

Again, see my previous review. This is an analog preamp, digital effects processor and solid state power amp in one unit. The overdrives are all solid state, but the clean channel uses a 12AX7 tube. The preamp section can be completely bypassed, as can the effects section, so that only the power amp is in use.

Great high-gain capabilities out of the ART, one of the best onboard parametric EQs, and effects that are at the least quite passable. Dialed in properly, it has a definite tube vibe beyond that of most tube-emulating amps.

Although I did not post a follow-up to the review of my first DST, it ultimately died on me, and the replacement head suffered the same fate. With no early symptoms of impending failure, both amps would start sounding "fizzy" and then cut out partially (one side dead, other side still working) or completely. On one of the amps, I could sometimes play for an hour before it would falter, but the problem would be immediate on the other. Unable to get through an entire practice session with either amp, both have since gone into storage until I can find someone to diagnose and (hopefully) correct the issue.

I also own two of the ART DST-4 preamps, which contain the preamp and effects of the Eighty/Eighty head in a 1U format. I haven't had the same problem with either of those, but I have had cut-out issues with other ART gear. I can only guess that there may be some major sensitivity to electrical fluctuation, or maybe some particular component(s) prone to failure over time.

This is a mixed bag. My dealings with ART tech support have been entirely positive, so far as they were able to assist me. Unfortunately, the company changed hands some years ago, and has gotten out of the guitar gear business. There are simply not replacement parts available for the DST products. I have tried to find local service, but most techs are either not familiar with ART equipment or - like ART itself - do not have parts with which to fix it.

I can't fault the ART staff for this, but they simply aren't of much use to me in this case.

I had every intention of gigging and recording with this amp, same as with the first one, but it wasn't meant to be. I have switched to using a rack rig live as well as for recording, and had high hopes for my second DST, so I'm disappointed that it didn't happen. For the right price, I would be tempted to pick up another or get the first two fixed, as the features and tone are great. Nothing lasts forever, though, and I don't know how much expense and effort I'm willing to put into getting my DSTs functional again.

I'm not certain when it was made, but I would guess somewhere in the early/mid `90s, prior to the digital model "boom" of recent years. Before getting heavily into the details, it's worth noting that this is called a powered processor, but is in reality either a head or matched preamp and power amp combined with an effects unit. There are four preamp channels, running the range from tube cleans to over-the-top solid state distortion. From a versatility perspective, it can do just about anything, but I play in a metal band and bought it for its strengths in that area.

As stated, the preamp has four channels, with a 12AX7 accessible only on the "Clean Tube" setting; the other overdrives and distortions are all solid state, but are NOT models. There is a single/humbucker button to boost the gain of a single coil pickup. The digital effects include reverb, delay, chorus, pitch-shift, tremolo and flange. The power section is "powered by Pearce" and is a stereo solid state power amp, presumably 80 watts per side; there was a store sticker covering that part of the back on mine. All of this is essentially packed into a 2U rack format and then installed into an oversized head much like that of a vintage Marshall, complete with black Tolex and gold piping. Because it is really a rack unit (or two) at heart, the DST Eighty/Eighty has most of the features found on comparable equipment, including an effects loop with level control, direct outs with speaker cab simulation, tight/loose controls on the speaker outs, and enough I/O options to satisfy just about any guitarist in a live or studio situation. All of this can be operated from the front panel, via a full MIDI board, or - for simple on/off functions - with a basic two-button footswitch. It is a simple unit to operate, as the controls consist of knobs combined with a numeric display to show parameter values, preset, EQ settings and so on.

All this is not without shortcomings. The Eighty/Eighty is based on the similar DST-4 preamp/processor and Xtreme pedal (or vice versa) and shares their limitations. Only one effect parameter can be edited on each preset, and since the preamp channels and effects are matched in presets, finding the ideal combination can be difficult. In my experience, it's easier to adjust the preset preamp settings than to tweak the effects. There are plenty of useful combinations, but it can take some time to dial in exactly what you want. The effects loop is not footswitch/MIDI-controlled, which limits its usefulness, and the effects return is only mono.

I have used this amp for practice and gigging as an alternative to the various combinations of pedals, rack units and amps I previously used. I can get everything I need out of it with just a two-button footswitch: distortion on/off and effects on/off. It lacks some of the features found in more modern amps and processors, and the inclusion of a single 12AX7 preamp tube on one channel is not enough to call it a tube amp, but it does everything I need and more.

My needs are simple: decent cleans, lots of distortion without mud, and delay. I have no use for the two mild overdrive channels, and the tube-driven clean channel isn't what I'm looking for either, although I suspect that with some grit dialed in and some sort of boost in front, it could achieve some cool tube overdrive tones. No, the distortion is what I wanted, and the ART delivers. The Xtreme distortion is the same as found in the pedal of the same name, and despite any criticisms the tube-only crowd might harbor, this amp is quite capable of getting tube tone out of solid state technology. The beauty of this is that the amp isn't trying to sound like something it's not via digital models. It sounds like an ART DST preamp with the gain cranked, because that's simply what it is!

The tones necessary for any type of metal or rock are here, and the presets are easily adjusted by way of a very sensitive parametric EQ. Hard rock, grunge, nu-metal, thrash, death metal and every other tone can be achieved from the front knobs. If you are concerned that 80 solid state watts per side won't be enough to hang with a full band, quit worrying. I play in a five-piece thrash/death metal band, and anything over halfway up is too loud. Whoever is responsible for the power amp, whether Pearce or ART, did a quality job. This amp holds its tone, even if turned all the way up...which I have tried. Probably the loudest solid state amp I've heard when compared to a tube amp of a similar power rating.

The effects are good, but dialing in a worthwhile setting can be very hit or miss. I can nail the sound of my beloved Boss DD-2 Digital Delay, but actually getting to that point meant first finding a preset with "perfect" delay, and then adjusting the preamp to sound good with it. As an example, preset 54 has an awesome tube-like tone, but the combined delay/chorus/flange was useless to me. The delay on preset 50 was ideal, but the preamp sounded too tinny, so I adjusted the EQ to sound more like 54, and then saved it to memory. No big deal, but you'll want to have everything dialed in prior to hitting the stage.

There is some noise with the gain cranked up, but I have tried a variety of Duncan, DiMarzio, Armstrong and EMG pickups with favorable results all around. For metal, this might be the finest solid state amp available, and better than most of the budget Marshall, Crate and Peavey heads. It destroys any modeller I've ever played through. But of course, your mileage may vary if metal is not your style of choice. Fortunately, the EQ is very good, and if blues or country or jazz are your preference, those tones are available as well.

I feel that I can depend on every amp I own, and the ART is no exception, but I always bring a backup if possible. I've had gear work great for years and then die at the most unlikely and inconvenient time, so I try to be prepared and take nothing for granted.

I've dealt with ART in obtaining documentation and service for other units, but not the Eighty/Eighty. All of my dealings with them have been positive, but I prefer to rate that based on each specific experience.

I've been playing for over sixteen years, and in a gigging/recording band for the past six. I own rack gear (including ART preamps and EQs), combos, heads and various effects of all kinds. I was initially a bit hesitant to ditch my pedalboard and tube amp in favor of a solid state amp, but the simplicity is impossible to beat...and the tone is so close to the tube warmth I'm used to that I never felt as though anything was missing. Sure, there are a few compromises over the finer points of the effects parameters and how some pickups sound through this amp versus another, but I'm happy so far. I'm not interested in trying to emulate the tone of another amp, so devices like the POD or V-Amp offer nothing.

I'd still use my tube gear for recording, and again for shows now and then, but if I'm on the road, I can live without the prospect of emergency tube swaps. Did I mention that I got this amp for $140? Yeah, it's easier to justify lugging it around to shows than risking damage to other, more expensive gear. Then again, these ARTs are hard to find, so I hope to get many years of use out of it.