Yeks Guide To The Fractal Audio Drive Models

Alexander van Engelen
August 2020
Yek’s Guide to the Fractal Audio

Drive Models
Original
Original content
content: by Yek van Engelen (yek)
Alexander
Additional
Revision: content by Simviz
May 2018
Firmware:
Firmware: Q3.03 10.x / Ares 1.x
Quantum
Guide Revisions
2017, March First edition
2017, March Added Shimmer Drive, other additions
2017, June Minor updates
2017, August Updates, additions, finetuning, updated presets
2018, May Fully revised edition
2018, June Minor additions
2018, August Full check
2018, November Another full check, additions and improvements
2019, March Fully revised edition, initiated by the updated drive modeling in firmware
Ares 3.02
2019, November Updated edition, initiated by the updated drive modeling in firmware
Ares 10
2020, March Added OD 250 model and minor updates
2020, August Covers new features and new Drive types in firmware Ares 13.x for the Axe-
Fx III, lots of additional or updated information, all links have been checked,
updated presets
Disclaimers
This guide has not been not submitted to Fractal Audio for authorization. The contents are based on
published data, web sources, forum posts, magazines, books, and personal experience.
Yek does not own the copyright to any of the photos.
There WILL be unintentional errors in this guide. If you find one, contact yek.
Important!
Drive modeling has been improved greatly in Axe-Fx III firmware versions Ares 3.02, Ares 10 and
Ares 13, and corresponding firmware for the FM3. Gain, output level, characteristics and tone may
have changed.
So, tips and information in this guide may not apply to Drive types in earlier firmware, including the
AX8, FX8 and Axe-Fx II. For those devices, please refer to a previous edition of this guide.
2
Table of Contents
.................................................................................................................................................................1
Guide Revisions ........................................................................................................................................2
Disclaimers ...............................................................................................................................................2
Introduction .............................................................................................................................................5
About Drive Modeling..............................................................................................................................6
Number of Drive Blocks .......................................................................................................................6
Knobs and Controls ..............................................................................................................................6
Mix and Dry Level ................................................................................................................................6
CPU Usage ............................................................................................................................................7
About Overdrive, Distortion and Fuzz .................................................................................................8
Fuzzes and Impedance .........................................................................................................................8
Clean Boosts.........................................................................................................................................8
Popping ................................................................................................................................................8
About Electronics .................................................................................................................................9
Diodes Modeling ..................................................................................................................................9
Input Boost Types in the Amp Block ..................................................................................................10
Change an Amp Model into a Drive Model .......................................................................................10
Use a Drive Model instead of an Amp Model....................................................................................10
More Tricks ........................................................................................................................................10
Drive Types per Category ...................................................................................................................11
Drive Types per Clip Type ..................................................................................................................11
Demo Presets .....................................................................................................................................11
Drive Models ..........................................................................................................................................12
BB Pre (based on: Xotic BB preamp)..................................................................................................13
Bender Fuzz (based on: Sola Sound / Vox Tone Bender) ..................................................................15
Bit Crusher (custom model) ...............................................................................................................19
Blackglass B7K (based on: Darkglass Microtubes B7K)......................................................................21
Blues OD (based on: Marshall Bluesbreaker Mk1) ............................................................................23
Box o’Crunch (based on: MI Audio Crunch Box Distortion) ..............................................................25
Compulsion Distortion (based on: Fulltone OCD V1) ........................................................................27
Esoteric ACB (based on: Xotic AC Booster) ........................................................................................29
Esoteric RCB (based on: Xotic RC Booster) ........................................................................................31
Eternal Love (based on: Lovepedal Eternity) .....................................................................................33
FAS Boost (custom model) .................................................................................................................35
FAS LED-Drive (custom model) ..........................................................................................................37
FET Boost (custom model) .................................................................................................................39
3
FET Preamp (custom model)..............................................................................................................41
Face Fuzz (based on: Dallas-Arbiter Fuzz Face) .................................................................................43
Full OD (based on: Fulltone Full-Drive 2) ...........................................................................................45
Hard Fuzz (custom model) .................................................................................................................47
Heartpedal 11 (based on: Lovepedal OD11 / Amp Eleven) ...............................................................49
Hoodoo Drive (based on: Voodoo Lab OverDrive) ............................................................................51
Horizon Precision Drive (based on: Horizon Devices Precision Drive) ..............................................53
Jam Ray (based on: Vemuram Jan Ray) .............................................................................................55
M-Zone Distortion (based on: BOSS MT-2 Metal Zone) ....................................................................57
Master Fuzz (based on: Maestro Fuzz-Tone FZ-1A) ..........................................................................59
Micro Boost (based on: MXR Micro Amp) .........................................................................................61
Mid Boost (custom model) ................................................................................................................63
OD 250 (based on: DigiTech DOD Overdrive Preamp 250) ...............................................................65
Octave Distortion (based on: Tycobrahe Octavia).............................................................................67
PI Fuzz (based on: Electro-Harmonix Big Muff Pi) .............................................................................71
Plus Distortion (based on: MXR Distortion +) ....................................................................................73
Rat Distortion and Fat Rat (based on: Pro Co RAT) ...........................................................................75
SDD Preamp (based on: preamp in Korg SDD-3000) .........................................................................79
Shimmer Drive (custom model) .........................................................................................................81
Shred Distortion (based on: Marshall Shredmaster) .........................................................................83
Suhr Riot (based on: Suhr Riot)..........................................................................................................85
Super OD (based on: BOSS SD-1 Super OverDrive) ...........................................................................87
T808 OD, T808 Mod, TS9DX+ (based on: Ibanez Tube Screamers) ...................................................89
Tape Distortion (based on: EQ curve of a reel-to-reel recorder) ......................................................93
Timothy (based on: Paul Cochrane Timmy).......................................................................................95
Tone of Kings (based on: Analog Man King of Tone) .........................................................................99
Treble Boost (based on: treble boost circuit) ..................................................................................103
Tube Drive (based on: Butler Tube Driver) ......................................................................................107
Zen Master (based on: Lovepedal Hermida Zendrive) ....................................................................111
4
Introduction
In February 2016, Yek (Alexander van Engelen), a member of the Fractal Audio forum, started writing
articles describing each amplifier model in Fractal Audio’s modelers. Almost exactly a year later he
did it again: now he has documented all Drive models. This guide consists of those articles, with
additional summaries and pictures, and later updates. Enjoy!
— Simviz
After finishing my Guide to the Fractal Audio Amp Models, I thought

to myself: never again... But the unchartered territory of the drives
was too tempting, so here we have it: the next guide.
Compared to the amplifier models, information about the Drive
models was pretty scarce. Remarkable, because drive pedals
(overdrives, boosts, fuzzes etc.) are the most common devices to be
found on traditional pedalboards. Each day sees the arrival of a new
drive pedal, it seems.
Like the Amp Guide, this guide goes beyond the preceding forum
write-ups. It’s still worthwhile to read those forum threads, because
of the comments, personal stories and additional videos.
I want to thank Simviz for assembling the contents of my forum posts into a neatly formatted PDF
document at the time. And many thanks to Fractal Audio in the first place for providing state-of-the-
art models of iconic pedals.
For what it’s worth, “yek” was the nickname I randomly chose when joining CompuServe decades
ago, before the World Wide Web even existed. Somehow it stuck.
I’d like to mention a couple of sources in particular on which I relied writing this guide:
• Analog Man’s Guide to Vintage Effects, available here

• Gitarre & Bass, the best guitar magazine out there (German)
• Pedal Crush – Stompbox Effects For Creative Music Making, a book by Kim Bjorn and Scott
Harper
Don’t mind the spelling and grammar mistakes in this guide. English is not my native language.
If you like this guide, feel free to donate.
— Alexander van Engelen (yek)
5
About Drive Modeling
Number of Drive Blocks
Axe-Fx II, AX8 and FX8: these processors have two Drive blocks which can be switched between
two sets of parameters: X and Y.
Axe-Fx III and FM3: these processors have four Drive blocks, with four channels per block: A B C
D. This allows the use of a whopping 16 Drive types in a single preset!
Knobs and Controls

In most cases, the knobs on the modeled devices correspond with the controls on the Basic page
of the Drive block (firmware Ares 3.02 and later).
Bass Response
Some Drive types have a Bass Response control (firmware Ares 13 and later). In some models this
is also duplicated on the Basic page, because it represents the Voice knob on the modeled device
or a similar control (and renamed accordingly).
Mix and Dry Level

Unlike other effect blocks, 0% Mix in a Drive block is not equivalent to 100% dry signal passing
through. The Mix parameter operates prior to any tone control. This lets you mix dry signal with
the distorted signal and still maintain overall tone control. Some users lower Mix to increase
transparency and attack.
Even with Mix at 100%, clean level can still pass through diodes. This also applies to the models.
The Dry Level parameter (available for certain types in firmware Ares 3.02 and later) determines
the amount of clean level that passes through the diodes.
“For many types there is now a “Dry” control. This parameter controls the amount of “dry”
signal mixed with the “wet” (distorted) signal. For a Tube Screamer-based model this will
default to 100% due to the topology. For other types this will default to 0. Values up to 200%
are allowed. Note that the dry data is added before any tone controls and therefore is not
exactly equivalent to a mix but rather replicates the behavior of analog circuits.” — Fractal
Audio
The Drive block lets you adjust far more parameters than
the modeled real device provides. Discussion of all
parameters is beyond the scope of this guide. Refer to
the Owner’s Manuals and wiki.
6
CPU Usage
Drive models use varying amounts of CPU. In the Axe-Fx II, AX8 and FX8, CPU usage is amplitude-
dependent: CPU usage will rise and fluctuate when playing. This does not apply to the Axe-Fx III
and FM3. The table below shows the CPU usage of each Drive model in the Axe-Fx III with
firmware Ares 13 .03 (empty preset). The types with CPU usage above 8% are diode-based.
BB Pre 8.7
Bender Fuzz 2.6
Bit Crusher 3.7
Blackglass B7K 2.7
Blues OD 8.8
Box o’Crunch 9.4
Compulsion Distortion (all) 8.7
Esoteric ACB 8.7
Esoteric RCB 8.7
Eternal Love 8.6
FAS Boost 8.7
FAS LED-Drive 8.6
FET Boost 2.5
FET Preamp 2.5
Face Fuzz 3.8
Fat Rat 8.7
Full OD 8.6
Hard Fuzz 2.5
Heartpedal 11 8.6
Hoodoo Drive 8.7
Horizon Precision Drive 8.7
Jam Ray 8.6
M-Zone Distortion 8.8
Master Fuzz 3.8
Micro Boost 2.6
Mid Boost 3.8
OD 250 / Gray 8.6
Octave Distortion 2.7
PI Fuzz 3.8
Plus Distortion 8.6
Rat Distortion 8.7
SDD Preamp 2.5
Shimmer Drive 3.8
Shred Distortion 8.8
Suhr Riot (all) 8.9
Super OD 8.6
T808 Mod 8.6
T808 OD 8.6
TS9DX + 8.6
Tape Distortion 3.7
Timothy (all) 8.6
Tone of Kings 8.7
Treble Boost 3.8
Tube Drive 3-knob 3.3
Tube Drive 4-knob 3.3
Zen Master 8.6
7
About Overdrive, Distortion and Fuzz
Transistors in electronical devices amplify the signal and when they clip, they distort. The type of
clipping determines how the pedal sounds and how it is categorized. An “overdrive” pedal is
based on soft gradual clipping, reacts dynamically and is usually aimed at complementing or
replicating the sound of a driven amplifier. A “fuzz” clips hard and aggressive and creates a buzzy
sound, similar to a broken amplifier. Also, a fuzz depends on the impedance of the signal. A
“distortion” pedal covers the middle ground, leaning more towards higher gain than overdrives
do.
• Reverb.com: The Difference Between Fuzz, Overdrive and Distortion

• Pete Thorn shows how (not) to use overdrive and distortion pedals: Part 1 and Part 2
• Ultimate Guitar Com: Brief History of Fuzz
• Ultimate Guitar: This is the Difference Between Overdrive, Distortion and Fuzz
Fuzzes and Impedance

Inherent to the architecture of digital modelers is the inability to exactly replicate the interaction
between a guitar pickup and traditional fuzz boxes, because of varying low impedance (aka Input-
Z). To improve the emulation of such fuzz boxes, the Axe-Fx series and FX8 allow selecting a
specific input impedance setting or an “Auto” setting. The AX8 and FM3 do not have this feature.
So, when creating a fuzz-specific preset in the Axe-Fx or FX8, experiment with the Impedance
parameter in the Input block. Important: the “Auto” setting only works if the Drive model is the
first non-bypassed block after the Input block.
"The Fuzz in the Axe-Fx reacts as though there is a buffer in front of it (because there is). It's a
limitation inherent to all modeling products. I modeled it using a nominal source resistance.
To really simulate it you would need a controller to simulate the changing output impedance
of the guitar.”
“You can simulate the effect of a guitar into a Fuzz-Face using the Input-Z feature.”
“The problem is that the signal is buffered and there is no way to model the interaction of the
pickups with the circuit.”
"Duplicating the behavior of a fuzz pedal requires that the pedal be the first non-bypassed
block following the Input 1 block and the input block impedance must be set to Auto since
fuzz pedals load down the guitar’s pickups." — Fractal Audio
Clean Boosting
Some of the Drive models, or rather the pedal on which the model is based, are clean boosts or
can operate as one. Like the Micro Boost, sEsoteric RCB, FET Boost and FET Preamp. The purpose
of a clean boost on a traditional pedalboard is clear: increasing signal level without adding tonal
color. However, in a digital device such as a Fractal Audio processor, a clean boost is also easy to
accomplish without a Drive block. A simple Volume block or “null” Filter block does the job and
requires much less CPU.
Popping
Switching between two Drive models, for example when switching between X and Y (Axe-Fx II,
AX8 and FX8), between channels (Axe-Fx III and FM3), or between types in the Drive block, may
cause an audible “pop”. It’s normal.
8
About Electronics
The information below is derived from the book Pedal Crush – Stompbox Effects For Creative
Music Making.
Transistor — Semiconductor that amplifies the input signal and can clip the signal into distortion.
It’s a compact alternative to vacuum tubes. Early germanium transistors were very unreliable.
Silicon transistors provide more reliable and consistent performance.
Capacitator — Stores electrical energy. Used for various purposes such as filtering frequencies or
blocking interference.
Resistor — Reduces current flow. Used to control signal levels, voltage etc.
Diode — Non-amplifying semiconductor that can clip the signal into distortion. Low-gain
germanium diodes have a softer and woolly sound, silicon diodes generate higher gain and hard
clipping.
LED — Besides performing as on/off lights, LEDs are diodes that can clip the signal. Every color
has different characteristics.
Inductor — Coil of wire that creates a magnetic field. Used in Wah pedals to voice the effect.
IC — Integrated Circuit (chip) that contains a number of transistors, resistors, capacitators etc.
Op-amp — aka Operational Amplifier. These ICs are capable of louder clean amplification than a
transistor, using diodes to clip the signal into distortion when needed.
Diodes Modeling
Drive types which are based on op-amp and diode clipping topologies, were completely
overhauled in firmware Ares 3.02. They allow control over the type and quantity of diodes in the
positive and negative polarity. For example, the user can select (2) 1N34A diodes for positive
signal polarity and (1) red LED for negative. This implementation by Fractal Audio of real-time
simulation of analog electronic circuits (SPICE), without requiring loads of CPU, is called FASPICE.
Further development in firmware Ares 10, called FASPICE XD, again improved the accuracy of
diode-based models and added additional diode models.
More about FASPICE in the wiki…
In firmware Ares 13 the diode-based Drive types were overhauled and improved again with the
introduction of a new complex algorithm.
“New algorithm uses a novel solution to solve the nonlinear ODE of a diode clipper with
memory (i.e. a capacitor). The accuracy of the diode I-V curve is also greatly improved. This
new algorithm has the accuracy of implicit iterative solutions with speed rivaling explicit
solutions. CPU usage is only slightly increased vs. the previous algorithm. Note that many of
the Drive models will now behave differently and presets should be auditioned. The behavior
of the tone controls in some models has also changed. Of note are the Timmy models where
the tone controls are now faithful to the actual pedal and decrease bass/treble when turned
clockwise.” — Fractal Audio
The new algorithm has increased the CPU usage of the affected Drive models.
More about the new algorithm…
9
Input Boost Types in the Amp Block
Some Drive models, such as T808, T808 Mod, Super OD, Full OD, AC Boost, Shimmer, FAS Boost,
Treble Boost and Mid Boost, are also available as Input Boost types in the Amp block. They act as
clean boosts, replicating the oft-used “Drive on 0, adjust Level as desired” boost technique. These
types do not include the clipping (gain) of the Drive block types, just the EQ curves. This allows
boosting an Amp model without requiring an additional Drive block. The Boost Level parameter
controls the amount of boost, up to 24dB. Some Input Boost types are available in the Amp block
only, without a Drive block equivalent, such as Neutral, Grinder and CC Boost. More in the wiki…
Change an Amp Model into a Drive Model

Some manufacturers of guitar amplifiers put their signature amplifier sounds in a pedal, such as:
EVH 5150, Friedman BE-OD, Bogner Ecstasy Blue and Red, Bogner Uberschall and Diezel Zerrer.
You can accomplish a similar thing in Fractal Audio’s modelers by changing an Amp model into a
Drive model. It's a simple procedure: turn off Power Amp Modeling in the amp block by setting
Supply Sag to 0. The screen will show "p.a. off". This expands our arsenal of drives and requires
less CPU usage than a dedicated Drive block. This approach is especially handy in the Axe-Fx
series with its multiple amp blocks. AX8 and FM3 owners can take advantage of this as well, when
combining it with a real amp.
Use a Drive Model instead of an Amp Model

With some creativity, you can use a Drive block instead of an Amp block. It won’t sound fantastic
and will lack dynamics, but it lets you bypass the single amp block limitation of the AX8 and FM3
and provides a way to continue a performance through the P.A. when your guitar amp stops
working.
• Demonstration by Danny Danzi
• Simulating an amp and a cabinet, without an Amp block or Cab block
More Tricks
If a pedal has not been modeled by Fractal Audio, you can experiment with available models to
get close. Some examples:
Maxon OD | EHX Soul Food | Solo Dallas Schaffer Replica | Xotic BB preamp AT | Klon
Centaur | Klon Centaur | Cornish SS2 | Boss HM-2 | MI Audio Crunch Box V2
More tricks:
• A PEQ can deliver the characteristic EQ curve of a drive pedal without its gain.
• To get that ‘80s nasal hard rock tone: instead of using a Drive model, put a Peaking PEQ
before a Plexi amp model, and add 5 to 7dB at 1000 Hz.
• Use the Tape Distortion model to add some analog tape flavor to the sound.
• Use the Rat model to warm up and soften a Synth sound.
• Create lo-fi retro sounds with the Bit Crusher model.
• Try stacking drives: put two Drive models in series, such as two T808s, or two Face Fuzz
models, or the Octave Distortion followed by a Face Fuzz.
• Attach the Pitch internal controller to the Drive parameter. This increases gain when you play
high on the neck. Finetune the modifier settings for precise control.
• In this video, Pete Thorn shows how to get a glassy clean tone with a Germanium fuzz pedal
and the guitar volume turned down. This works well with a fuzz model too: try Face Fuzz.
10
Drive Types per Category
Clean boost Esoteric RCB | Eternal Love | FET Boost | Jam Ray | Micro Boost |
SDD Preamp | Timothy | Tone of Kings
For bass Blackglass B7K | Bender Fuzz | Compulsion Distortion | PI Fuzz
Fuzz Bender Fuzz | Face Fuzz | Hard Fuzz | Master Fuzz | Octavia
Distortion | PI Fuzz
Amp-like and other BB Pre | Blues OD | Box o’Crunch | Compulsion Distortion | Esoteric
overdrives ACB | Eternal Love | FAS Boost | FAS LED-Drive | Fat Rat | Full OD |
Heartpedal 11 | Hoodoo Drive | Horizon Precision Drive | Jam Ray |
M-Zone Distortion | OD 250 | OD 250 Gray | Plus Distortion | Rat
Distortion | SDD Preamp | Shimmer Drive | Shred Distortion | Suhr
Riot | Super OD | T808 Mod | T808 OD | TS9DX + | Timothy | Tone of
Kings | Tube Drive | Zen Master
Other sounds Bit Crusher | Mid Boost | Octavia Distortion | Tape Distortion |
Treble Boost
Drive Types per Clip Type
Diode(s) BB Pre | Blues OD | Box o’Crunch | Esoteric ACB | Esoteric RCB |

Eternal Love | FAS Boost | FAS LED-Drive | Fat Rat | Full OD |
Heartpedal 11 | Hoodoo Drive | Jam Ray | M-Zone Distortion | OD
250 | OD 250 Gray | Plus Distortion | Precise Drive | Rat Distortion |
Shred Distortion | Suhr Riot Ge and LED/Si | Super OD | T808 Mod |
T808 OD | TS9DX + | Timothy (all) | Tone of Kings | Zen Master
FET Compulsion Distortion | FET Boost | FET Preamp
Germanium Face Fuzz | Master Fuzz
Hard Bender Fuzz | Blackglass 7K | Hard Fuzz
LED Box o’Crunch | FAS LED-Drive | Fat Rat | Suhr Riot LED | Suhr Riot
LED/Si
Op-amp Micro Boost | SDD Preamp
Silicon Bit Crusher | Mid Boost | PI Fuzz | Shimmer Drive | Tape Distortion |
Treble Boost
Demo Presets
Demo presets, showcasing many of the available Drive types, can be downloaded from the wiki
page below. This includes a couple of presets that use drives for other uses.
Download demo presets (firmware Ares 13 and later)
11
Drive Models
The following section describes all Drive models in firmware Ares 13 and later, and the original
device on which they are based (if applicable). The header of each section is a link to the original
forum thread (if applicable).
12
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BB Pre (based on: Xotic BB preamp)
Description This modeled overdrive pedal contains a gain stage that transforms a clean
amp into a roaring stack
Yek’s Tip At default settings into a clean amp, it replicates an overdriven amp perfectly.
Or set Drive at 0 to tighten an already overdriven amp or to boost a clean amp
Original Controls Gain (Drive), Volume (Level), Treble (Treble), Bass (Bass)
Xotic is an American company known for its quality effects, such as the RC Booster, AC Booster, EP
Booster and Robotalk, as well as its guitars and basses.
Some say “BB” is an abbreviation of “Bluesbreaker”, Marshall’s vintage 2x12 combo amp, used by
Eric Clapton in John Mayall’s Bluesbreakers (read more about it in the Guide to the Fractal Audio
Amp Models). Others say it means “Big British”.
The diode-based BB preamp pedal contains a preamp gain stage that can turn a pristine clean amp
into a roaring rock beast. It can also smoothen and compress an already overdriven tone. While the
pedal doesn’t sound like a Tube Screamer (there’s no mid-hump) and has much more gain, it is
partly based on that circuit.
“The BB Preamp offers a wide variety of sounds. It’s capable of a 30dB+ clean boost with an
adjustable ±15dB two band active EQ which adds a wide range of harmonic content to your
ideal sound. The BB also utilizes a pre-gain stage which allows the pedal to go from a very
pristine clean to a very smooth, compressed, overdriven sound” – Xotic
The pedal became popular when Andy Timmons made it his main boost pedal (before switching to
JHS). Xotic built him a signature edition. Xotic released several versions of the pedal, with varying
amounts of compression as described on Guitar Tone Overload. The current version is 1.5.
13
The pedal has four knobs:
• Gain: amount of overdrive (model: Drive). Usable across its

entire range
• Volume: output level (model: Level). Output is high, so
decrease this for unity gain
• Bass and Treble (model: Bass, Treble): active tone controls,
cutting or boosting up to 15dB
The model is based on the original version of the BB preamp pedal.

If you like the character of the BB Pre model, but prefer a thicker type of sound, try the Esoteric ACB
model, based on Xotic’s AC Booster pedal.
Xotic: Andy Timmons – BB preamp

ProGuitarShop: BB Preamp – Strat
ProGuitarShop: BB Preamp – Les Paul
Xotic: Interview with J.D. Simo – Xotic Effects AC Booster & BB Preamp
Xotic: Interview with Dave Weiner: BB preamp comparison
14
Bender Fuzz (based on: Sola Sound / Vox Tone Bender)
Description A model of the circuit of the first UK-built fuzz pedal, which was used by
Jimmy Page to record Led Zeppelin’s Whole Lotta Love
Yek’s Tip Increase Drive, turn down Level, put it before a clean amp or a slightly dirty
Marshall, and use the guitar’s volume knob to control the amount of fuzz. Or
turn down Drive really low for a milder fuzz tone
Original Controls Attack (Drive), Level (Level)
The classic Tone Bender fuzz originates from the ‘60s and was designed and manufactured by
Macari’s / Sola Sound in the UK. The Tone Bender name was used for their series of fuzz boxes. Sola
Sound and Vox Tone Benders are basically the same thing, because the Sola design was licensed to
JMI/Vox. Sola Sound also built the Colorsound range of effects, including the famous wah pedal (also
provided as a model) and several different versions of the Tone Bender.
Jimmy Page used a Tone Bender when recording Led Zeppelin’s Whole Lotta Love, as demonstrated
in the documentary “It Might Get Loud“. The Beatles, Jeff Beck in The Yardbirds and Eric Clapton
are have used it too.
According to Wikipedia, the first Tone Bender design (MK1) was based on the Maestro fuzz and
contained three transistors. The second edition, later named MK1.5, had two transistors and was a
negative feedback amplifier; the Arbiter Fuzz Face and Vox/JMI Tone Bender are based on it. The
Professional MKII edition contained three transistors again; it was a MK1.5 model with an additional
gain stage, and probably is the most popular and most-copied design. The MKIII (the inspiration for
Fulltone’s Soul-Bender) had an additional tone control and was followed by the MKIV.
The Colorsound “Supa” Tone Bender (1973) used to silicon transistors and was based on the “Ram’s
Head” Big Muff.
“The Tone Bender MKI.5 is said to be the first circuit type used in any Sola Sound sand cast
enclosure and the only Tone Bender made with two germanium transistors. So sonically what
can you expect? The tone is a little heavier and denser when compared to that of the
Professional MKII. Has some of that beefy woolliness of a good germanium Fuzz Face but still
has enough cut and shove to not completely loose it in the mix. The saturation levels are
15
lower too so works pretty neat for driving a big ballsy amplifier over the edge but never to
the extent that things completely fall apart”
“Some would say that it all about the place it holds in the world of rock’n’roll. When I demo a
MKII in the shop these days I am still blown away by the sound – for me it is the epitome of
great guitar tone – loads of headroom, warm fat crunch through to aggressive rock tones
suitable for downtuning, then back off your volume and there are all those huge blues tones.
That’s today... what it must have been like back in 1964 I can only imagine – It must have
been like a spaceship landing – most people walking into Macaris back then would have only
heard a fuzzbox on record – this pedal played through an old Marshall or Selmer or Vox –
well, for a guitarist, it must have been life changing” – Macari’s
Many clones and replicas exist. D*A*M Stompboxes still builds authorized authentic reissues.
“The first commercially made fuzz box to hit the UK market was the golden coloured, wedge
shaped; three transistorized Gary Hurst designed Tone Bender. The Tone Bender was
released in September 1965 and sold for 14 guineas, approximately £185 in today’s worth.
The Tone Bender was a big hit and quickly drew big name players to a growing rank of users.
The Yardbirds, The Who, The Pretty Things, The Merseybeats, The Ivy League and a rather
popular band from Liverpool called the Beatles were among users of the Tone Bender. Guitar
player with a Hull based band called the Rats also used this original Tone Bender as his
primary fuzz sound for many years. This Guitar player was Mick Ronson who as we know
went on to play lead guitar alongside a certain David Bowie. This first incarnation of the Tone
Bender was only made for a relativity short time period before the design of the pedal was
significantly changed.
Following the success of this first Tone Bender, which we will refer to as the MKI, it was clear
that the design of the pedal needed to be geared towards being a more readily produced
item. Early in 1966 a new improved Tone Bender arrived on the scene, this version of the
Tone Bender has become known as the MKI.5. This new design was much more modern &
futuristic in appearance and was also more ergonomic in its aesthetics, more space ship like
in appearance than the tank like appearance of the MKI. The new improved Tone Bender
enclosure was manufactured using a sand casting process and was finished in a silver/grey
hammertone paint. The new Tone Bender was, like its predecessor, named only as a ‘Tone
Bender’. The silk screening on the enclosure only featured the pedals name; the labelling for
the controls and the input & output sockets, no company information was featured.
The internal construction style of the MKI.5 is of the same style that followed through into
the build technique of the MKII’s. The MKI.5 utilised isolated jack sockets as to avoid ground
loops, a feature used on all Tone Benders and most other quality British made effect pedals
from the 1960’s. A technique unfortunately that is seldom used today. All the early Tone
Benders, right up to the introduction of the MKIII, also relied heavily on the use of shielded
cabling throughout. Again, a very good construction technique and yet again little seen in
use today. Interesting side note, true bypass switching that is often seen as a modern feature
to ‘boutique’ builders was actually first seen used in the Tone Bender MKI.
The earliest MKI.5 Tone Bender I seen featured two IMPEX S3-1T Germanium transistors.
Possibly have been prototype unit? Commonly the MKI.5 along with a large percentage of
MKII Tone Benders used the British made Mullard OC75’s. The two transistor arrangement of
this type of circuit is called a voltage feedback biasing circuit. Interestingly, several fuzz boxes
that first made their appearance in the year 1966 used this very same set-up. The Arbiter
16
Fuzz Face, the Vox Tone Bender, Vox Distortion Booster and the Sola Sound made Tone
Bender MKI.5. Possibly a happy coincidence? But more likely inspired by the popularity of the
originator” – D*A*M Stompboxes
More information:
• Premier Guitar: Stompbox Classics

• The Tone Bender Timeline
• Audiofanzine: Legends – The History of the Great Fuzz Pedals
• Premier Guitar: Face the Fuzz
• Macari shop story
• Premier Guitar: Fifty Years of Filth — The Story Of The Mighty Bender Fuzz
The most popular Tone Bender designs are simple pedals with just two knobs:
• Level: output level (model: Level)

• Attack: amount of fuzz (model: Drive)
So far, it’s unknown which circuit has been modeled by Fractal Audio. But it doesn’t really matter:
the Bender Fuzz model sounds great. While real Tone Bender pedals contain germanium transistors,
the Clip Type parameter in the model is set to “Hard”, representing the circuit’s hard clipping.
It is a versatile fuzz model. It can be used with a clean amp, where it will sound punchy, or with a
amp with a lot of power amp distortion (e.g. Plexi), capable of filling the room and flooring the
audience, making modern high-gain amps hide sheepishly in a corner. It can even be used with amps
with lots of preamp gain, and with bass guitar. At high Drive settings, notes on the low E-string get
spitty, like an imminent implosion to happen.
Dialing in the model is as simple as putting it before or after a clean or slightly dirty Marshall amp
model, turning the Drive control to the desired position, and using the guitar’s volume knob to
control the amount of fuzz. Turn up Drive and Level for crushing distortion, reminiscent of Ian
Thornley (Big Wreck). For a milder fuzz tone, turn down Drive.
For more information about the interaction between the guitar and fuzz models, refer to the notes
at the beginning of this guide.
Sola Sound Tone Bender Fuzz

Macari’s: The Tonebender
Jimmy Page in “It Might Get Loud”
Which JMI Tone Bender is Right For Me?
Sola Sound Professional MKII Tone Bender
Pete Thorn: Ramble FX Twin Bender Fuzz demo
Original 1973 Sola Sound Tone Bender fuzz
British Pedal Company Players Series: MKI Tone Bender Demo
British Pedal Company: Players Series MKII Tone Bender Demo
British Pedal Company: Vintage Series MKI.5 Tone Bender Demo
British Pedal Company: Players Series MKIII Tone Bender Demo
Rhett Shull: The Best Fuzz Pedal I’ve Ever Played
17
Bit Crusher (custom model)
Description This custom model lets you intentionally downgrade audio quality by reducing
bit resolution and/or sample rate of the signal
Original Controls n/a
Bit crushing is the process of intentionally downgrading audio quality, to create a warm sound or as
an effect by itself. A bit-crushing pedal or software plugin often provides bit reduction and sample
rate controls, and more.
Fractal Audio’s Bit Crusher model is not modeled after a specific pedal, although such pedals do
exist. If you don’t use the model’s bit reduction and sample rate controls, a generic drive remains.
"Based on a black box we found lying in the trash outside Studio Harshclip" – Owner's
Manual
The model at default settings showcases the Bit Reduce control. In fact, this control appears in every
Drive type, so it’s not limited to this specific model. It lets you reduce the resolution (dynamic range)
of the digital signal. This creates artifacts, a stair-stepping effect and distortion.
Its value is the number of bits that will be subtracted from 24-bit full scale. For example, to create 4-
bit audio, set it to 20 (default value in this model).
Be aware that bit reduction will introduce background hiss and will cause the signal to drop out. The
model already does this at default settings.
“Samples in digital audio are recorded as integers or floating-point (real) numbers stored in
computer memory. Those numbers are encoded using a series of on and off memory bits. The
larger the number of bits, the more accurately a sample encodes the instantaneous volume
level of a sampled audio waveform. DAWs today typically use 32-bit floating-point numbers.
Early digital audio gear and video games used 8-bit integer samples or less. Roland's classic
TR-909 drum machine used 6-bit integer samples. Resolution reduction intentionally reduces
the number of bits used for audio samples. As the bit depth goes down, waveforms become
more stair-stepped and subtle volume variations are lost. At extreme bit reduction,
waveforms are reduced to clicks as a waveform jumps abruptly from low to high and back
again without intervening values” – Wikipedia
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Another way to intentionally downgrade signal quality is to use the Sample Rate control. This control
also appears in every Drive model. It introduces digital aliasing by reducing the sample rate from
48kHz all the way to 48Hz. This also creates digital artifacts and messes up pitch.
“Digital audio is composed of a rapid series of numeric samples that encode the changing
volume of an audio waveform. To accurately represent a smooth waveform, digital audio
requires many samples at a high sample rate. The higher the rate, the more accurate the
waveform. Higher sample rates also allow higher frequencies to be accurately encoded.
DAWs today typically use 44.1 kHz or higher sample rates. Early digital gear used much lower
sample rates to conserve memory for stored audio. Sample rate reduction (also called down-
sampling) intentionally reduces the sample rate to degrade the quality of the audio. As the
sample rate is reduced, waveforms become more coarse and high frequencies are lost. At
extreme reductions, the waveform becomes metallic sounding” – Wikipedia
More information:
• Xiph.org: about the use of bit depth and sample rate in audio playback
• Pedal Crush – Stompbox Effects For Creative Music Making
Tips:
• Run the Looper when experimenting with Bit Reduce and Sample Rate. Record a clip, set it
to playback, then go wild with the controls.
• Attach the Sequencer (internal controller) to a parameter in the Synth block and run it
through the Bit Crusher model.
• Attach an expression pedal to Sample Rate.
If you like lo-fi sounds, also consider these alternatives:
• Lower the low and high sliders in a GEQ block

• Use the IR of a tiny speaker cabinet.
• Crank Speaker Drive in the Amp block.
• Crank Drive and Saturation in the Cab block’s Preamp simulation.
• Use the Ring Modulator block in non-tracking mode.
• Use low-pass and high-pass filtering.
• Generate pink or white noise with the Synth block.
Fabfilter: The Higher The Better, Right?

Battle Of The Bitcrushers
Hexe BitCrusher III
Red Panda Bitmap
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Blackglass B7K (based on: Darkglass Microtubes B7K)
Description An analog bass preamp, famous for its crushing modern-sounding overdrive
and transparency
Yek’s Tip Try it with and without an Amp and/or Cab model
Original Controls Blend (Mix), Level, Drive, EQ controls, Attack, Grunt (model: Low Cut)
Referred by its manufacturer Darkglass as the “Black Beast”, this Scandinavian analog bass preamp is
famous for its overdrive, transparency and versatility and is very popular pedal, either as a
standalone preamp or as a distortion pedal. It covers the spectrum from crystal clear powerful tones
to modern crushing bass distortion.
“Tone crushing overdrive and super transparent modern sound is the essence of the B7K. One
of the most acclaimed Darkglass pedals in the bass community, it doesn ́t compromise the
original sound of the instrument, but it enhances its presence in the mix” – B7K Manual
“The Microtubes B7K takes the powerful dynamic saturation circuit of the B3K and adds a
four-band equalizer and a balanced line driver for even greater versatility. Designed for both
studio and live use, it will take your direct sound to a whole new level” – Darkglass
More information:
• Review on Bass-Pedals.com
• Review in Gitarre & Bass (in German)
21
Fractal Audio’s hard-clipping model is based on the original B7K pedal, not the later Ultra and V2
editions. But because Fractal Audio includes a GEQ in every Drive block, the model already goes
beyond the pedal on which it is based.
Just like the real thing, Fractal Audio’s model can be used either with and without Amp and/or Cab
blocks.
Controls on the original pedal:
• Blend: mixes clean signal with overdriven signal

(model: Mix)
• Level: level of overdriven signal (model: Level)
• Drive: amount of gain (model: Drive)
• Attack switch: amount of treble content to saturate
Boost: emphasizes treble content
Flat: neutral
Cut: de-emphasizes treble content
• Grunt switch: amount of low frequency content to saturate before the clipping stage
(model: Low Cut):
Fat
Thin
Raw
• EQ: Low (100Hz), Low Mids (1 kHz), Hi Mids (2.8 kHz), Treble (5 kHz)
According to Fractal Audio, the model was obtained with the Attack and Grunt switches in the
middle position. The Grunt switch changes the low-cut frequency, so the Low Cut control in the
model can be used to replicate this switch. The Attack switch controls a shelving filter on the input
(use High Cut in the model). As the B7K model has been modeled with Grunt set to “Thin”, you may
want to adjust the Low Cut parameter.
Darkglass Electronics Microtubes B7K - Bass Demo

Darkglass: Design and Tone Perfected - Microtubes B7K v2
Darkglass: Microtubes B7K Demo by Chris Kollias
Darkglass B7K (Bass Demo)
Darkglass Electronics Microtubes B7K In-Depth Review
Morten Falk: Darkglass B7K Model Demo
22
Blues OD (based on: Marshall Bluesbreaker Mk1)
Description This light-to-moderate overdrive pedal replicates Eric Clapton’s cranked

Marshall JTM 45
Yek’s Tip Set Drive and Level between 1 and 3 o’clock for a mean blues tone
Original Controls Gain (Gain), Tone (Tone), Volume (Level)
In the ‘60s, Eric Clapton reportedly played through a very loud Marshall JTM 45 combo when
recording John Mayall’s famous “Beano” album. This amp became known as the Bluesbreaker. Read
more about it in the Guide to the Fractal Audio Amp Models.
In the ‘90s, Marshall released the Bluesbreaker pedal, designed to replicate this sound. It’s a light-to-
moderate overdrive, totally different from the ubiquitous Tube Screamer sound. John Mayer ran his
Bluesbreaker into a Klon. The second edition of the pedal (BB-2) added a Boost/Blues switch but
received far less appreciation.
Builders such as Analog Man and Robert Keeley have designed pedals based on the Bluesbreaker’s
diode circuit. Analog Man’s very popular King of Tone is available as a separate Fractal Audio model
(firmware Ares 3.02 and later).
Article in Gitarre & Bass (in German)
The pedal has three knobs:
• Gain: amount of overdrive (model: Gain)

• Tone: tone (model: Tone)
• Volume: output level (model: Level)
John Mayer sets all controls on the pedal to 3 o'clock, reportedly.
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Fractal Audio‘s corresponding model is the Blues OD. The Blues OD is NOT a model of the BOSS Blues
Driver pedal, as often assumed. Note that Fractal Audio’s BB Pre model, modeled after Xotic’s BB
preamp, also references Marshall’s Bluesbreaker amp, but sounds very different.
The model went through a transformation in firmware Ares 3.02. Drastic adjustment of the Tone
control is no longer necessary.
The model is perfectly capable of putting out cutting mean blues tones with simple adjustments. The
sound varies with the type of Amp model it runs into: clean, on-the-verge-of-breakup, Fender,
Marshall, etc. It has an addictive juicy sound.
"One of the more impressive circuits is the BluesBreaker.

Whoever designed that knew what he was doing. It's unique
and the designer understood the role of resistance in series
with the diodes.”
TheToneShack: Marshall Bluesbreaker MkI Overdrive Pedal Demo

Marshall Bluesbreaker Pedal Mark 1 Demo
Premier Guitar: Rig Rundown - John Mayer
ToneJunkie TV: The Story of Marshall Blues Breaker
24
Box o’Crunch (based on: MI Audio Crunch Box Distortion)
Description One of the most popular Marshall-in-a-box pedals

Yek’s Tip Nothing subtle here, it’s straight in-to-your-face Marshall tone. Use a clean
amp, keep Tone cranked (it’s a treble cut) and set Drive as desired
Original Controls Vol. (Level), Tone (Tone), Gain (Distortion), internal Presence control in later
versions
Many manufacturers have tried to capture the essential sound of a tube amplifier in a pedal. John
Suhr did it with the Riot pedal. Another one who succeeded, is MI Audio. Their Crunch Box
Distortion pedal is one of the most popular amp-in-a-box pedals, providing that straight in-to-your-
face blistering “Marshall on stereoids” sound, with prominent mids, feedback and all. It’s been said
that the Crunch Box is based on Marshall’s own Guvnor (Guv’nor) pedal.
The Crunch Box uses LED (light-emitting diode) clipping. Yes, those little lights
can be used for intentional signal clipping, creating distortion. LEDs have a lot of
headroom and are less fizzy and louder than other diodes.
“I had one goal in mind with this pedal, namely to create a pedal which captures the huge
crunch of a Marshall on steroids. I am VERY happy with the results.
Simple and straight forward, with just gain, tone and volume. The Crunch Box has some
similarities to the Tube Zone, in the sense that the design is based on a multiple clipping
architecture (the signal is clipped 3 times). However, there are significant differences which
make these two pedals sound quite different from each other. The Tube Zone is designed to
have a very 'broad' sonic footprint. The Crunch Box on the other hand has a strong mid-
presence to it, similar to the great British amps.
Also, the Crunch Box has a relationship with the Blues Pro, since the tone shaping is similar to
the Blues Pro.
25
The results are really quite spectacular. In the lower gain range, the tone is very punchy and
throaty. There are some great classic rock rhythm sounds to be found in there. As the gain is
wound up, the Crunch Box develops a beautiful singing lead tone. The tone is shaped in a
way which makes the pedal very touch sensitive, and variations in picking technique produce
a very big difference on tone. Pinch harmonics are a breeze. I have put in there more gain
than anyone should need, but due to the way I handled the pre-overdrive tone shaping, the
pedal always stays tight and each pickup retains its character, including single coils.” — MI
Audio (Crunch Box V3 manual)
Gitarre & Bass: Andy Timmons Sound: MI Crunch Box (in German)
The Crunch Box itself has inspired other manufacturers, in particular JHS. The JHS Angry Charlie
series, responsible for Andy Timmons' overdriven sound these days, is very similar.
The pedal has three knobs:
• Gain: amount of overdrive (model: Distortion)
• Tone: cuts highs (model: Tone)
• Vol: output level (model: Level)
Fractal Audio’s model, added in firmware Ares 13 for the Axe-Fx III, is based on the first version of
the Crunch Box, now discontinued. The first version of the pedal, and therefore Fractal Audio’s
model, is not as bright as later versions, so you’ll probably want to keep Tone cranked (Tone cuts
treble).
“The model is based on a V1.”
The Tone Shack: MI Audio Crunch Box Distortion Pedal Demo

Brett Kingman: MI Audio Crunch Box
Brett Kingman: Axe-Fx III FW 13
Haar Guitars: MI Audio Super Crunch Box
MI Audio Super Crunch Box vs JHS Angry Charlie
ProGuitarShopDemos: MI Audio Crunch Box Distortion
ProGuitarShopDemos: MI Audio Crunch Box Distortion
26
Compulsion Distortion (based on: Fulltone OCD V1)
Description A modern overdrive/distortion classic with a wide gain range

Yek’s Tip Don’t overlook this model as a clean boost
Original Controls Volume (Level), Drive (Drive), Tone (Tone), Low Peak/High Peak switch
(modeled separately)
Fulltone’s Full-Drive is discussed elsewhere in this guide. In 2005, Mike Fuller followed up on the
success of that pedal with the best-selling Obsessive Compulsive Drive or OCD. It’s a modern
MOSFET-based overdrive / distortion with a very wide gain and dynamic range. It’s been said that
the OCD is based on Voodoo Lab’s Overdrive (also modeled), but sound wise they are different. The
OCD nails the warm sound and response of a driven tube amp convincingly. It was an instant hit with
guitar players, including famous ones such as Keith Urban, as well as bass players. Also, the OCD has
always been affordable.
“The OCD was the first pedal to use Mosfets as clipping devices. Another first was their
configuration as "hard clippers connected to v-ref" instead of to ground, as was the norm.
These things contribute greatly as to why the OCD has such touch-sensitivity...why they react
so well when the strings are hit hard or soft, and why they sound & feel different than all
other pedals out there, 90% of which are just slight tweaks of the Tube Screamer.”
— Fulltone
“The Fulltone Obsessive Compulsive Drive (OCD) is an extremely open sounding
Overdrive/Distortion circuit that differs from other overdrives in that it has a good bit more
Dynamic-Range...meaning the difference between picking soft or picking hard will actually
yield a more natural and wider range of distortion (with less compression) than traditional
diode-clipped overdrives. The OCD also creates complex overtones without changing the
inherent tone of whatever amp and guitar you’re playing through, in the process lifting off
that blanket other drive pedals can put on your signature sound.
The OCD accomplishes its tube-like distortion through the unusual combination of
overdriving its JFET opamp, and then hard-clipping with a pair of MOSFETs later on in the
circuit. This topography did not exist in a pedal prior to the OCD, and the circuit works very
27
well with a vast array of guitars and amps. Because of its large amount of available output
volume, the OCD works great as a booster in front of amps to goose them into submission, as
well as through Master-Volume amps to drive them much harder than most OD‘s can, but it
also excels at creating its own distortion with all the chime of a Class A amp and its complex
array of overtones. The OCD gives you the feeling that your amp is Cranked at even living
room volume so Clean playing is more dynamic and dirty sounds still have the ringing
overtones. The OCD’s can access a slew of other in-between sounds by simply turning up or
down your guitar’s volume control, in fact, no other pedal “cleans up” like the OCD.”
— Manual
Fulltone released the OCD V2 in 2017. But before that, the original OCD already had been changed 7
times by Fulltone (versions 1.1 – 1.7)! Watch this great video: ToneJunkie TV: The Story of Fulltone
OCD.
So far, it’s unknown which V1 version of the OCD has been modeled.
“I think it's my favorite drive. I can see why the

pedals were so popular.”
Reviews:
• Music Radar: Fulltone OCD

• GuitarLessons: Fulltone OCD Overdrive
• Legendary Tones
The pedal has 3 knobs:
• Drive: amount of overdrive (model: Drive)

• Tone: controls tone, noon is neutral (model: Tone)
• Low Peak / High Peak: the two switch positions are represented by two separate models
According to the manual, High Peak increases distortion throughout the Drive knob‘s range, delivers
more volume and a slight increase in the midrange between 1-2 kHhz), for more of a “British” vibe
(Vox and Marshall). Low Peak increases accuracy to the original sound of the amp with very little
coloration, which is good for clean boosting and cranked Blackface or Tweed-style ones,
The Drive control covers an enormous range of gain. Low Drive and Level turned up works great as a
clean boost. Turn it up and you’ll discover the potential of this model, from a mild crunch into high
gain. It excels at any position and it isn’t hard to see why the pedal is so popular.
That Pedal Show: Fulltone OCD 1.7, V2 and Ge
ToneJunkie TV: The Story of Fulltone OCD
Intheblues: Fulltone OCD Overdrive Pedal
ProGuitarShopDemos: Fulltone OCD V4 Les Paul
ProGuitarShopDemos: Fulltone OCD V4 Strat
Haar Guitars: Fulltone OCD V2
28
Esoteric ACB (based on: Xotic AC Booster)
Description One of Xotic’s overdrive pedals, warmer and thick

Yek’s Tip BB Pre’s fat brother. A really low Drive setting helps to thicken an already
overdriven rhythm or lead tone
Original Controls Gain (Gain), Volume (Level), Treble (Treble), Bass (Bass)
Xotic is an American company known for its quality effects, such as the RC Booster, EP Booster, BB
preamp and Robotalk, as well as its guitars and basses.
The AC Booster (“Almost Clean”) pedal is a diode-based overdrive pedal. It produces a sweet
overdrive with an uncompressed tube feel. Its sound is thicker than the BB preamp pedal / BB Pre
model. It lends itself very well to thicken an already overdriven rhythm or lead tone. It can also
operate as an overdrive on its own.
“The Xotic AC Booster Overdrive Guitar Effects Pedal creates a warm and pleasant sound by
using the finest quality parts available. The AC Booster is a natural sounding "overdrive"
pedal. Not "heavy" distortion, but a sweet thick overdrive with an "open" non-compressed
feel. It's capable of a 20dB+ boost with an adjustable ±15dB two band active EQ, which adds
a wide range of harmonic content to your ideal sound. The super wide range gain control
allows for enough gain for it to work as a distortion pedal when turned all the way up.
Equipped with not only boost Gain but also Treble and Bass controls that allow you to adjust
your sound anyway you like” – Xotic
The model is also available as an input boost type in the Amp block.
29

• Volume: output level (model: Level). Output is high, so decrease this
for unity gain
• Bass and Treble (model: Bass, Treble): active tone controls, cutting or
boosting up to 15dB
Xotic: Xotic Effects AC Booster

ProGuitarShop: Xotic AC Booster Strat
ProGuitarShop: Xotic AC Booster Les Paul
Ibanez Tubescreamer TS-9 vs Xotic AC Booster Overdrive Pedal Shootout
Xotic: Interview with J.D. Simo – Xotic Effects AC Booster & BB Preamp
Xotic: Xotic Effects Demo Reel - AC Booster
Xotic: Interview with Tim Pierce – Xotic Effects AC Booster
30
Esoteric RCB (based on: Xotic RC Booster)
Description Popular clean boost and tone enhancer

Yek’s Tip Keep Drive between 9 and 10 o’clock or so, because the gain isn’t its strong
point
Original Controls Gain (Gain), Volume (Level), Treble (Treble), Bass (Bass)
Xotic is an American company known for its quality effects, such as the AC Booster, EP Booster, BB
preamp and Robotalk, as well as its guitars and basses.
The RC Booster (“Really Clean”) diode-based pedal is very popular as a clean boost. Known for its
transparency, it enhances the sound and harmonics of the guitar and amp. Its EQ controls lets
further sculpt the tone. Many users, including pros, leave the pedal turned on all the time.
Scott Henderson has been the pedal’s main endorser and has been honored with signature editions
(here’s a review in German), which led to the development of the RC Booster v2. Fractal's Audio’s
model is based on the original design.
“The best characteristic of this booster is to have no character at all”

“The RC Booster offers a super transparent 20db+ clean boost and a +- 15db 2 band active
EQ without ever compromising the integrity of the original TONE. It provides a solution to
sound degradation, caused by long instrument cables and/or long effect chains between
guitar and amp, by strengthening the original signal” – Xotic
“I particularly LOVE the RC Boost for single coils - Strats and Teles or P-90s or lipstick tube
pickups. I usually just leave an RC Boost or Fractal drive block "on" when using them. Not a
lot of drive when using Fractal version, less than 2 sometimes to emulate the clean boost of
an RC, and volume around 4.5 to 5.5. One of the secrets of the amazing Doyle Bramhall II is
he usually puts an RC boost pedal next to last in his signal chain, right before the wah (which
is last!), and shaves just a hair off the top and bottom end using the tone controls, and then
has drive and level at about 11 to 11:30 as well...also works good. When used right, the RC
31
Boost makes your Strat or Tele or Lipstick tube pickups sound like single coil pickups but
louder, approaching humbucker signal level (P90s usually have some stronger output and
may not need as much help)” – AustinBuddy
• Gain: overdrive (model: Gain)

• Volume: output level (model: Level). Output is high, so
decrease this for unity gain
• Bass and Treble: active tone controls, cutting or boosting up
to 15dB
The model is based on an original RC Booster (v1), now discontinued.

You can argue about the need in a digital environment for a Drive block that acts as a clean boost,
because there are less CPU-hungry solutions to neutrally boost signal level. But the RCB model does
add a little magic of its own.
Xotic: Interview with Michael Thompson

ProGuitarShop – Xotic RC Booster
Xotic: Xotic Effects Demo Reel RC Booster
Tone Quest: Scott Henderson RCB-SH Signature Model Interview
Xotic: RCB-SH Demo with Scott Henderson
32
Eternal Love (based on: Lovepedal Eternity)
Description This pedal delivers overdrive, transparent boosting and treble boosting
Yek’s Tip To add some glassy presence to clean (and dirty) amp tones: turn down Drive
really low (i.e. 0.25), turn down Tone, compensate with Level, into a clean
amp for a great edge-of-breakup sound, or into a dirty amp for boosted
overdrive.
Original Controls Drive (Drive), Level (Level), Glass (Tone)
It seems that each day a new overdrive pedal is released to the masses, either boutique or mass-
produced. Often, it's just another variation on the same old Tube Screamer circuit. Yet, some stand
out and are able to obtain a permanent position in this crowded market. Lovepedal’s Eternity is such
a pedal. Its high price notwithstanding, it has found its way onto many pedalboards.
At the time of writing the Lovepedal website has been down for months and the state of the
company is unknown.
“The Lovepedal Eternity delivers fantastic, tubey overdrive at every setting. You just can’t
make this pedal sound bad. The extremely interactive controls offer you three knob options
for sculpting overdrive sounds; Drive, Level (clean boost), and Glass which functions as a
treble booster. Through variation of the Drive and Level knobs you can alter the mix of pedal
distortion sound and your amp’s natural overdrive characteristics, giving you a myriad of
tone options. Through manipulation of the Glass knob you can dial in some sweet Brian May
style tones, or roll it off for some dark, warm goodness. The Love Pedal Eternity has
developed a huge following and is currently played by Andy Summers of The Police and
Richard Fortus of Guns N’ Roses, among others”
"The Lovepedal Eternity can be 3 pedals in one – Overdrive, Treble Booster and Clean booster
– depending on where you set the dials. You can also blend these 3 factors. Darker tones
brighter tones, etc. Unorthodox tone control. It’s a treble boost instead of a normal tone
control. It is a very smooth type of OD. It can go from nothing at all to sounding like a very
warm vintage overdriven tube amp or a clean flat booster or a treble booster even a tweed
amp. With the treble boost all the way off, it is warmer than most tube amps. The Eternity
33
Overdrive always stays true to what’s coming out of your guitar so you never turn into the
pedal. No matter how hard you drive it. It also breaks up the harder you dig into the strings,
which is priceless” – Lovepedal
Lovepedal has released various of the pedal over the years and the differences aren’t always clear. It
is unknown which version of the Eternity has been modeled by Fractal Audio.
The Eternity pedal has three knobs:

• Drive: amount of gain (model: Drive)
• Glass: amount of presence. It’s a tone control with a large
range (model: Tone)
The Glass knob (Tone in the model) has a large range which makes it very versatile. With Tone
cranked, the model turns into a treble booster.
Richard Fortus (Guns N’ Roses) sets the knobs like this: Level 3 o‘clock, Glass 9 o’clock, Drive 12
o’clock.
This diode-based model has noticeable less bass and low mids than comparable pedals / models. It
doesn't emphasize the mids in the same way a Tube Screamer does. This makes it more transparent,
less grainy and an excellent choice to put before a clean Amp model for “edge-of-breakup” rhythm
strumming, while still adding enough body for single note runs.
Lovepedal Eternity Burst - E6 – Roadhouse – Kanji 9

ProGuitarShop: Lovepedal Kanji Eternity
Jack Zucker: Lovepedal Eternity (clean boost demo)
Sean Michael: LovePedal Kanji Eternity
Sean Michael: Lovepedal Eternity John F. Klaver
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FAS Boost (custom model)
Description This custom model aims to be the “ideal boost pedal”

Yek’s Tip Try Drive at 0 and Tone turned up a little
Fractal Audio provides a couple of custom models. These virtual drives have no real-life equivalents.
They solely exist within Fractal Audio’s processors, implementing ideas and improvements on
existing pedals.
The FAS Boost model does a fine job as such. Its gain is pleasing and neutral without a mid-hump,
full-bodied and smooth. In a short time, it has become a favorite variation on the Tube Screamer for
many players. It works equally well with clean and dirty amp tones, not needing a lot of gain. It
works very well as a boost, with Drive turned down.
The model is available as an input boost type in the Amp block.
This model also lends itself as a platform to emulate other pedals. For example, forum members
have used it to emulate a Maxon overdrive. Fractal Audio’s design lets you experiment with different
diodes types and quantities.
"It's not based on anything. It's

my take on an ideal boost pedal”
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FAS LED-Drive (custom model)
Description This custom model showcases the modeling of LED clipping

Yek’s Tip Works best with dirty amp sounds, with Drive at zero
Fractal Audio provides a couple of custom models. These virtual drives have no real-life equivalents.
They solely exist within Fractal Audio’s processors, implementing ideas and improvements on
existing pedals.
The LED-Drive model is such a custom model. It models LED (light-emitting diode)
clipping. Yes, those little lights can be used for intentional signal clipping, creating
distortion. LEDs have a lot of headroom and are less fizzy and louder than other
diodes. This can be demonstrated by comparing the “LED” Clip Type to other types.
Video: test different clipping modes for diy pedals
LED clipping is not that often used in pedals, although it seems to gain popularity. It’s used in MI
Audio’s Crunch Box (modeled by Fractal Audio), Pro Co's Turbo Rat, Landgraff’s L'DO, Keeley’s Psi
Fuzz, modifications of the BOSS DS-1, Suhr Riot (modeled by Fractal Audio), and in guitar amplifiers
such as Marshall’s Jubilee.
The sound of the LED-Drive can be compared to that of the BOSS DS-1, Joe Satriani’s and Steve Vai’s
preferred distortion pedal in the 90s to add gain to leads and such. It sounds most pleasing when
used with a dirty amp model, with Drive at zero.
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FET Boost (custom model)
Description This custom model provides a gentle and smooth clipping boost
Yek’s Tip This model is often used to boost the input of an Amp model, such as a Plexi.
With some tweaking it can also serve as a Klon Centaur substitute, for clean as
well as dirty tones
FET is the abbreviation of Field-Effect-Transistor, a semi-conductor. FETs are used in

pedals and amplifiers. For example, Dumble amplifiers provide a FET input for low-gain
instruments. In guitar-oriented products MOSFET and JFET types are common.
“The field-effect transistor (FET) is a transistor that uses an electric field to

control the shape and hence the electrical conductivity of a channel of one type of charge
carrier in a semiconductor material. FETs are also known as unipolar transistors since they
involve single-carrier-type operation. The FET has several forms, but all have high input
impedance. While the conductivity of a non-FET is regulated by the input current (the emitter
to base current) and so has a low input impedance, a FET's conductivity is regulated by a
voltage applied to a terminal (the gate) which is insulated from the device. The applied gate
voltage imposes an electric field into the device, which in turn attracts or repels charge
carriers to or from the region between a source terminal and a drain terminal. The density of
charge carriers in turn influences the conductivity between the source and drain. (...) The
most commonly used FET is the MOSFET” – Wikipedia
“FET’s can behave like Tubes in a properly designed circuit. They can “clip” (distort) in a
pleasing way instead of being buzzy or spiky sounding (like a Transistor) and can also add a
subtle Limiting to the signal which can even-out the volume making your Live and Recorded
tones more pleasing to the ear” – Fulltone
FET is available as a Clip Type in Fractal Audio’s Drive modeling, as demonstrated in the FET Boost
model. Note that FET Boost and FET Preamp are different Drive models.
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The FET Boost model is not based on a real pedal, it’s a custom model. Fractal Audio’s custom
models have no real-life equivalents. They solely exist within Fractal Audio’s processors,
implementing ideas and improvements on existing pedals.
The FET Boost model has been in the firmware since the early days. It’s a favorite model of many
players, boosting the signal going into the amp. Slamming the input of amps often results in better
tone than using an overdrive. The increased amp distortion is natural, and the tone gets fatter,
enhancing the characteristics of the amp instead of changing them.
"A gentle, smooth clipping booster with tone controls" – Fractal Audio manual
So why do people love this particular model? Well, how do you describe sound, why does person A
like a certain tone, and person B doesn’t? The FET Boost is fairly neutral (at default settings into a
clean amp, the tone doesn’t change much) but still adds “something” to the tone.
To operate as a boost, use default settings and adjust Drive or Level.
The FET Boost is also the best model to replicate the Klon Centaur. Yes, the illustrious
boost/overdrive pedal, which sells for thousands of dollars. Several ways of approaching its
illustrious sound can be found on this wiki page. Check out Camilo Velandia’s replication of a dirty
Klon, and the settings for a clean Klon in AustinBuddy’s presets.
ProGuitarShop: Fulltone Fat Boost 3

Klon Centaur - Blind Shootout & Demo
Gearmanndude: Fulltone Fat-Boost vs Fat-Boost II
That Pedal Show: Klons, Archers, Tumnus, Soul Food & Klon. What Do We Think?
shnobel: Klon Centaur Demo
Premier Guitar: Klon vs Klone
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FET Preamp (custom model)
Description This custom model is similar to the BOSS FA-1 FET Amplifier, a pocket-size
preamp used by The Edge
Yek’s Tip Keep Drive low when used with a dirty amp. This model can also replace a
clean Amp model, when needed
When this model was added to Fractal Audio’s firmware, it became known that The Edge (U2’s
guitar player) had started using Fractal Audio gear. The Edge is known for being a user of the BOSS
FA-1. Perhaps there’s some correlation between The Edge’s use of Fractal Audio gear and the
addition of this model. But it has never been disclosed or acknowledged that this model is actually
based on the FA-1. For the purpose of this write-up, the model is assumed to be similar.
The rare BOSS FA-1 FET Amplifier, from the short-lived Pocket Series, is a pocket-size amp, meant to
be attached to the player’s belt. It’s not a pedal and doesn’t have an On/Off switch. It was made
between 1983 and 1984. FET is an abbreviation of Field-Effect-Transistor, a semi-conductor. For
more information, read the FET Boost article. It’s hard to find an original FA-1 nowadays. If you do
find one, it will be expensive. But there are lots of clones, or you can build your own.
The FA-1 is primarily used as a boost. Slamming the input of an amp often results in better tone than
using an overdrive pedal. The increased amp distortion is natural and transparent, and the tone gets
fatter, enhancing the characteristics of the amp instead of changing those. Alternative boosting
solutions are discussed elsewhere in this guide.
More information:
• BOSS FA-1 manual
• Reverb.com: Clean Boost Roundup
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The FA-1 has these controls:
• Volume: output volume (model: Level)

• Bass and Treble: active tone controls
• Flat / Low Cut switch: a 6dB low cut at 200 Hz, designed to prevent feedback (“howling”)
when used with acoustic instruments. Similar behavior can be achieved in the model with
the Low Cut control
The FET Preamp model, which may not be based on the FA-1 at all, is not entirely neutral or clean. It
adds grit and warmth to the tone and provides much more gain than the FET Boost model.
Reportedly, the FET Preamp with Drive at zero sounds similar to the pre-amp section of the Maestro
EP-3 Echoplex, sweetening and compressing the sound a little. As such, it’s an alternative to EP-3
clones such as the Xotic EP Booster and Catalinbread Epoch Pre.
The model also lends itself as a substitute for a

clean guitar amp (model). Select the FET Preamp,
turn up Tone, Treble and Bass, keep Level really
low, add another drive before it (i.e. BB or Riot). It
won’t sound fantastic and dynamics will be absent.
This allows you to use the FX8 as a preamp
(perhaps connected to a separate power amp and a
cabinet). On the FX8, you can even use it in
combination with some EQ to simulate an amplifier
as well as a cabinet, without using an Amp block
and Cab block at all, as demonstrated here.
Boss fa1 Fet Amplifier rehoused by JHS

ProGuitarShop: Retro Sonic Boost FA-1
SuperFunAwesomeHappyTime Pedal Show: Boss FET Amplifier FA 1
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Face Fuzz (based on: Dallas-Arbiter Fuzz Face)
Description The fuzz that Jimi Hendrix used, and Eric Johnson, and so many others
Yek’s Tip Put it before a dirty Marshall, crank Drive (and Level too, if you’re up to it) and
use the guitar’s volume knob to get the desired amount of fuzz. Combine it
with the Treble Boost model to tame the lows or with the Octave Distortion.
Experiment with Silicon and Germanium clip types
Original Controls Volume (Level), Fuzz (Drive)
Dallas-Arbiter’s Fuzz Face (1966, UK) is based on the Maestro fuzz and the Tone Bender MK1.5 fuzz
with two transistors. With its smiley face shape, it’s perhaps the most famous of all fuzz boxes
because Jimi Hendrix used it. Hendrix used germanium-based designs (pre 1969) at first and
switched to the silicon versions (post 1969). The silicon ones produce higher and more aggressive
gain. His Fuzz Face pedal sold for over $40.000! Other famous users include David Gilmour, Stevie
Ray Vaughan, Pete Townsend, Eric Johnson (silicon version) and Gary Clark Jr. The Fuzz Face was the
first pedal to have a true bypass switch. Dunlop now owns the rights to the Fuzz Face name and
produces various versions of the Fuzz Face, including signature editions.
"Arbiter Electronics Ltd. first issued the Fuzz Face in 1966. Later units bear the "Dallas
Arbiter", "Dallas Music Industries Ltd.", "CBS/Arbiter Ltd." or "Dunlop Manufacturing Inc."
name. The earliest units used germanium transistors. Silicon transistors were used in later
editions of the pedal. Silicon transistors provided for a more stable operation, but have a
different, harsher sound. The electronics are contained in a circular-shaped metal housing.
Ivor Arbiter "got the idea for the round shape when he one day saw a microphone stand with
a cast iron base". The pedal uses two knobs, one for volume, and one for the amount of
"fuzz" the pedal produces. The arrangement of controls and logo on the box suggests a
smiling face. The circuit is based on the shunt-series-feedback amplifier topology - a standard
in engineering text books. Sola Sound and Vox had been using the same circuit topology for
some of their Tone Bender pedals earlier in 1966. Dallas Music Industries made a final run of
Fuzz Faces in 1976 or 1977, shortly after they had moved to the United States. The company
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bought Crest Audio in the 1980s and although it was operating under that name when it
reissued the Fuzz Face in the 1986, the units bore the Dallas-Arbiter name. They made about
2000 Fuzz Faces until 1990. In 1993 Dunlop Manufacturing took over production, making a
variety of Fuzz Faces to this day. Several germanium and silicon models are available” –
Wikipedia
More information:
• Vintage Gear: Arbiter Fuzz Face
• Tone Report: The History of the Fuzz Face
• Gitarre & Bass: Jimi Hendrix: Fuzz Face (in German)
• Gitarre & Bass: Arbiter Fuzz Face (in German)
• ElectroSmash: Fuzz Face Analysis
• Guitar Player: Classic Gear - 1966 Arbiter Fuzz Face
• Premier Guitar: Face the Fuzz
The Fuzz Face is a very simple pedal with just two knobs:

• Fuzz: amount of fuzz (model: Drive)
Fractal Audio’s Face Fuzz model is based on a germanium Fuzz Face. You can easily switch to the
silicon version by changing the Clip Type parameter in the model.
A Fuzz Face tends to sound better with a Marshall than a Fender amp, because Marshalls have less
bass and a Fuzz Face puts out loads of bass. With Fuzz maxed out, the pedal sounds like a ring
modulator.
Many players put this fuzz before a non-master amp (e.g. Plexi), because the power amp’s distortion
will soften the hard, harsh clipping of the fuzz. They crank the Fuzz and Volume knobs and use the
guitar’s volume knob to get the desired amount of fuzz. Glassy clean sounds are also achievable,
especially with the germanium-based version, by turning down volume on the guitar. Other tricks:
follow the Fuzz Face with a Treble Booster to tame the lows or put the Octave Distortion model
before the fuzz.
See the notes at the beginning of this guide for information about impedance and fuzz.
Tone Factor: Dunlop JDF2 Dallas-Arbiter Fuzz Face Pedal Demo

Jim Dunlop: Fuzz Face Shoot Out w/ Jeorge Tripps & James Santiago
gearmanndude: fuzzface shootout
ProGuitarShop: Dunlop Jimi Hendrix Fuzz Face
James Santiago: Hendrix Fuzz Face Tips and Tricks
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Full OD (based on: Fulltone Full-Drive 2)
Description Robin Trower’s overdrive pedal, made by Mike Fuller of Fulltone

Yek’s Tip It’s thick and dark, so turn up Tone to add presence to the sound and play
Santana
Original Controls Volume (Level), Tone (Tone), Overdrive (Drive), Boost on some models
Mike Fuller of Fulltone was one of the first designers of boutique pedals. He is the inventor of the
3PDT switch, allowing manufacturers to build true bypass pedals with a LED. The Full-Drive overdrive
pedal, especially the Full-Drive 2 (FD2), marked the rise of his fame around ‘93.
The diode-based pedal is based on the Tube Screamer circuit but has evolved since then. Like the
Tube Screamer, the Full-Drive can be used as a standalone overdrive or to boost an overdriven amp.
There are many versions of the Full-Drive. The ’96 orange Full-Drive 2 in particular is very collectable.
The Full-Drive is used by John Mayer, Robin

Trower (picture) and many others.
• Legendary Tones: Fulltone Fulldrive 2 Review

• Reverb.com: 5 Killer Dual Channel Overdrives
• Gitarre & Bass: Fulltone Full-Drive (in German)
• Gitarre & Bass: Fulltone Full-Drive 1, 2, 3 (in German)
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The pedal has these controls:

• Tone: amount of presence (model: Tone)
• Overdrive: amount of overdrive (model: Drive)
• Boost: not modeled
Some versions of the pedal offer additional controls, such as a Comp/Cut push-pull pot.
Fractal Audio’s Full OD model is based on the Full-Drive 2 pedal, not on the OCD. It has a thick and
dark sound. Set Drive at 0 to smoothen an already overdriven amp, or turn up Drive with a clean
amp. Don’t hesitate to turn up Tone to add presence to the sound, as with the real pedal.
The Full OD model is also available as an input boost type in the Amp block.
"The Full OD model is based on

a Fulltone Fulldrive 2"
Full Drive 2
Fulldrive 3 vs Fulldrive 2
Andertons: Sound Like John Mayer By Busting The Bank
Harmony Central: Robin Trower (2009)
FullDrive 2 vs Fractal FullOD
Premier Guitar: Rig Rundown - Robin Trower
Reverb.com: Fulltone Full-Drive 2 Demo
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Hard Fuzz (custom model)
Description This custom model provides a hard-clipping, 60’s style fuzz

Yek’s Tip Turn up Drive and use a clean amp
This model is described in the Owner’s Manuals as “a hard-clipping, 60s-style fuzz”.

It’s a custom model, not based on a real pedal. Fractal Audio’s custom models have no real-life
equivalents. They solely exist within Fractal Audio’s processors, implementing ideas and
improvements on existing pedals.
It’s certainly different from the other available fuzz models. It uses the “Hard” clip type and is very
buzzy. It seems to work best with a clean Amp model. With Drive turned up high, the bass gets
totally out of control. As always with fuzzes, use the guitar’s volume knob to control the amount of
fuzz.
The Hard Fuzz is featured in the Axe-Fx III factory preset “Stereo Death Fuzz”.
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Heartpedal 11 (based on: Lovepedal OD11 / Amp Eleven)
Description This pedal produces the authentic tone of a mildly overdriven tube amp
Yek’s Tip Kick a clean amp into delightful overdrive with Drive anywhere between at 2
and 8 and low Tone and Level. Or use the “low Drive” approach with a dirty
amp
Original Controls Level (Level), Drive (Drive), Bass (Bass Cut/Bass Response), Tone (Tone)
Lovepedal’s OD11 (OD Eleven) and Amp Eleven pedals feature the same type of overdrive, aimed at
replicating the authentic sound of an overdriven tube amp. They won’t do over-the-top distortion,
but convincingly produce organic, dynamic and touch-sensitive overdrive, without adding too much
tone coloring. The OD11 isn’t produced anymore. It’s been integrated in the Amp Eleven pedal, with
an added boost section.
At the time of writing the Lovepedal website has been down for months and the state of the
company is unknown.
“AMP ELEVEN, fat, organic tone of an overdriven tube amp – with separate controls for bass
and tone. (…) Smooth, round, balanced, low-to-medium gain overdrive. Slight overdrive to
mild distortion. Great dynamic response and open sound” – Lovepedal
The pedal, together with some others, has been the cause of some stir on internet forums. This
Pedal Show episode demonstrates the similarities between the Timmy, Jan Ray and Amp Eleven. In
this episode, it’s stated that the Amp Eleven is “one of the best sounds we’ve ever had in the
studio”. And indeed, the pedal’s natural overdrive is to die for. Which goes for the model as well.
The number “11” in its name probably refers to Rob Reiner’s

“This Is Spinal Tap” mockumentary.
49
More information about this pedal:
• Tone Report
• Music Radar
The diode-based pedal has these controls:

• Level: output volume (model: Level)
• Bass: cuts bass (model: Bass Cut/Bass Response)
• Tone: amount of treble (model: Tone)
"On some models the controls are reversed

relative to the actual pedal.”
Either use the model to boost an already dirty amp, with low Drive, Tone and Level settings. Or get
your overdrive from the Drive itself with higher Drive and lower Tone settings, which is where the
model really shines.
The Bass Cut on the Basic page of the model is the same as the Bass Response control on the Adv
page.
Lovepedal Big Box Amp Eleven Demo

Josh Smith: Lovepedal Amp Eleven
ProGuitarShop: Lovepedal Amp Eleven
That Pedal Show - Analog Man King Of Tone Alternatives: Are There Any?
That Pedal Show: Dream Overdrives: Timmy, Jan Ray & Amp11
ProGuitarShop: OD11
ProGuitarShop: OD11 Single Coils
Buck and Evans: Lovepedal Amp Eleven
Rob Chapman: OD11 Overdrive Review
50
Hoodoo Drive (based on: Voodoo Lab OverDrive)
Description A rare overdrive pedal, based on the OD Preamp 250, that in turn was the
inspiration for Fulltone’s OCD
Yek’s Tip Run it into a driven amp
Original Controls Gain (Gain), Volume (Level)
Voodoo Lab has been around since the 80s, designing and manufacturing a number of classic effects
and audio tools. These days the company is probably best known for their power supplies, powering
many pedalboards around the world.
Their quite rare Overdrive pedal, not be confused with their Sparkle Drive, was released in the ‘90s.
It has been discontinued for a long time now. The Overdrive was based on the DOD OD Preamp 250
(also modeled by Fractal Audio), with the addition of a gain stage. And the Overdrive does indeed
sound like an improved version of the OD 250. The Overdrive in turn inspired Fulltone to design the
OCD (also modeled).
Like the OD 250, the Overdrive sounds best when run into an overdriven amp.
The original pedal has 2 knobs:

germanndude: Voodoo Lab Overdrive vs Fulltone OCD V1

JHS: Why Voodoo Lab Pedals Are Amazing
Tim Calloway: Voodoo Lab Overdrive
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Horizon Precision Drive (based on: Horizon Devices Precision Drive)
Description Misha Mansoor’s popular tool for sculpting modern metal tones
Yek’s Tip Start with Drive real low
Original Controls 6-position Attack switch (Attack), Volume (Level), Bright (Bright), Drive (Drive),
Gate
Misha Mansoor, also known as Bulb, is a member of the band Periphery, one of the top djent bands.
He’s also a user of Fractal Audio gear. He founded the company Horizon Devices which released the
Precision Drive pedal as their first product. Jim Dunlop/MXR builds the pedal for Horizon Devices.
The Precision Drive is a modern overdrive, specifically aimed at sculpting metal tones. Basically, it’s
not that different from the Tube Screamer platform, albeit finetuned to work together with already
overdriven metal amplifier (or modeler), adding punch, bite, and tightening the low end. According
to Horizon Devices, the pedal was developed with modelers (i.e. Fractal Audio) and profilers (i.e.
Kemper) in mind, and this review even states that the pedal works better with those digital devices
than with tube amps. Make sure to check out Horizon Devices’ commercials and tutorials, they are
pretty funny.
“Never worry about fighting your tone or your gear again with the Precision Drive, the first
modern overdrive made by guitar players for guitar players. The Precision Drive can take any
set-up, both tube and digital, and turn it into the perfect modern metal rig with its precise
tonal carving controls.” — Horizon Devices
The pedal has 5 knobs, described in detail in the Users’ Guide. The noise gate has not been modeled.
• Attack: adjusts character and punch (mids), tightens lows in 6 fixed steps (model: Attack)
• Vol: sets the output level (model: Level)
• Bright: adds highs (model: Bright)
• Drive: sets gain (model: Drive)
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About the pedal’s Attack control, which in the model is a duplicate of the Bass Response control on
the Adv page:
“Towards the left is more of a lower mids punch, and to the right can get very defined and
pick-y. Left is a little more oldschool and thick, right is very modern and clear. You can get
tons of unique combinations combining the attack knob with the bright knob. Turning bright
up as you turn attack to the left can help keep your sound balanced, and vice versa. Or totally
double down with both to the left for doom-y tones, or both to the right for super bright and
cutting tones.” — Guide
Fractal Audio’s implementation of the Attack control may be even better than the original, because
it’s not limited to 6 positions.
About the pedal’s Volume control:
“6 on the Precision drive is roughly equal to 10 on a Tubescreamer. So starting the volume at
noon is usually a good bet. Adjust to taste from there.” — Guide
About the pedal’s Bright control:
“We made sure this control could be very bright in order to help make dark or muddy amps
cut. So be careful when using the pedal for mid/low gain tones, because it can be a bit harsh
in the upper portion of its range. When doing this, don’t be afraid to turn this knob pretty far
to the left. It will tame it right up!” — Guide
About the pedal’s Drive control:
“You’re going to want to start with this near zero at first, as with most pedals. A cool trick is
to dial in a really dry and clear tone, then slowly turn the drive knob up to around 1-2 until
you get the level of saturation and thickness you’d like. We put a lot of effort into this portion
of the circuit to make it actually usable, so feel free to turn it up for mid-gain tones, or to add
saturation and sustain to your solos.” — Guide
Fractal Audio’s model is diode-based.
Ola Englund: Misha Mansoor Horizon Devices — Precision Drive

Rabea Massaad: Horizon Devices Precision Drive
Guitar World: Horizon Devices – Precision Drive
Horizon Devices: The Precision Drive by Horizon Devices
Horizon Devices: Tone on a Budget with Misha Mansoor & The Precision Drive
Sweetwater: Horizon Devices Precision Drive Pedal Overview with Misha Mansoor
Jason Richardson + Horizon Devices Precision Drive = Tone
Horizon Devices Precision Drive Tutorial 1
Riffs, Bears and Gear: Horizon Devices Precision Drive — Demo
Pete Thorn: Horizon Devices Precision Drive
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Jam Ray (based on: Vemuram Jan Ray)
Description Clean boost and low-gain overdrive that recreates the “Magic 6” Fender
sound from the ‘60s
Yek’s Tip Sounds great at every setting, start at default
Original Controls Gain (Gain), Bass (Bass), Treble (Treble), Volume (Level), saturation trimmer
inside
Vemuram’s Jan Ray is a coveted boost and overdrive, endorsed by an impressive list of artists,
including Michael Landau, Oz Noy, Scott Henderson, Pete Thorn, Matt Schofield and others.
It can act as a clean boost or can turn a clean amp into an overdriven one. The pedal provides
natural-feeling compression and distortion, as well as crispness on the top, along with warmth and
softness in the lows (quoted from MixDown’s review). It offers harmonic content, sustain and
transparency, so you’ll still hear the characteristics of the guitar you’re playing.
“BOOST-OVERDRIVE Pedal with Large head room

The Jan Ray was designed to recreate the punchy clear tone of the Blackface Fender amps
from the 60’s. So-called the “Fender Magic 6” sound. An easy to handle overdrive keeping the
characteristics of the guitar, with great sustain without any unnatural compression.”
— Vemuram
“Magic 6” refers to setting Volume to 6, Treble to 6, Middle to 3 and Bass to 2 (3x2 = 6) on a Fender
amp such as the Super Reverb, as explained in the Guide to the Fractal Audio Amp Models.
This boutique pedal costs over 400 USD / Euros. It’s been the topic of heated discussions on internet
forums. This Pedal Show episode demonstrates the similarities between the Timmy, Jan Ray and
Amp Eleven. All three pedals have been modeled by Fractal Audio.
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"The Jan Ray is a slightly modified Timmy which

itself is a modified Tube Screamer (albeit heavily
modified).”
The diode-based pedal has these controls (not labeled on the pedal):

• Bass: amount of bass (model: Bass)
• Treble: amount of treble (model: Treble)
Absolute Music: Vemuram Jan Ray Overdrive Guitar Pedal

Joe Perkins: Vemuram Jan Ray Demo
Haar Guitars: Vemuram Jan Ray overdrive
intheblues: Vemuram Jan Ray Pedal Demo
Sam Vilo: Vemuram Jan Ray
Livingroom Gear Demos: Paul C Timmy vs Vemuram Jan Ray shootout
Guitar Bonedo: Vemuram Jan Ray Sound Demo
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M-Zone Distortion (based on: BOSS MT-2 Metal Zone)
Description One of the best-selling and most disliked metal pedals ever
Yek’s Tip The Middle control is where it counts
Original Controls Level (Level), EQ (EQ), Dist (Distortion)
Does BOSS really need an introduction? This subsidiary of Roland has released an enormous variety
of pedals over the years and continues to do so today. Loathed by some because of their non-
boutique character, highly praised by others because of build quality and tone. BOSS may be
mainstream, but they have created lots of classics, used by Prince, Gary Moore and many more.
The Metal Zone pedal from the ‘90s in particular is responsible for divided opinions and heated
discussions. It was the era of Metallica’s Black Album. The pedal enabled players to turn their clean
amps into heavy metal monsters with insane amounts of distortion and sustain. So much that it
hardly matters what type of guitar is being played; the pedal makes them sound the same. It’s one of
BOSS’ best-selling pedals ever and at the same time probably the most hated. And it is still being
sold by BOSS today. In fact, BOSS released the MT-2W in 2018, a Waza Craft version. Many
companies, including Analog Man and Keeley, offer modding services for the original.
The pedal can also be used as a preamp by itself, going into the Effects Return of a guitar amplifier to
bypass the amp’s own preamp. For many players, this provides the best results.
“The MT-2 is the metal pedal that followed the HM-2. It was released a couple of years
before the HM-3 and was an instant success. It is one of the best-selling Boss pedals of all
time. The Metal Zone produces a distortion that is a bit smoother than the HM-2 and HM-3.
In addition to the LEVEL and DIST controls it’s got a 3 band sweepable parametric equalizer
that gives complete control over the MT-2’s tonal spectre” – Bossarea
57
The diode-based MT-2 has a peak at 100 Hz and 5 kHz and is scooped around 500 Hz.
More information:
• Boss MT-2: 25 years in the Metal Zone
• Tone Start: Boss MT-2 Metal Zone Review
• Tone Report: In Defense of the Metal Zone
• Gitarre & Bass #1, Gitarre & Bass #2 (schematics, in German)

• 3-band EQ (Low, Mid, High): active EQ controls (model:
Bass, Mid, Mid Freq, Treble)
• Dist: amount of distortion (model: Distortion)
The Mid control is where it counts. Select the desired frequency and turn Mid up and down.
BOSSchannel: MT-2 Metal Zone

Metal Zone: Worst Distortion Pedal Ever?
That Pedal Show: Boss Metal Zone vs Dan & Mick - Part 1
That Pedal Show – Boss Metal Zone - Part 2
Reverb.com: Boss MT-2 Metal Zone Distortion
Boss Metal Zone MT-2 Review/Demo
Boss Metal Zone MT-2
Boss Distortion Pedal Shootout
Reverb.com: Mark Holcomb Plays the Boss MT-2 Metal Zone
Ola Englund: Worst Distortion Pedal Ever?
That Pedal Show: Simon Neil from Biffy Clyro
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Master Fuzz (based on: Maestro Fuzz-Tone FZ-1A)
Description The first commercially available germanium-based fuzz effect pedal, used by
Keith Richards for the riff in “(I Can’t Get No) Satisfaction”
Yek’s Tip Don’t use it? ;-)
Original Controls Volume (Level), Attack (Drive)
The ’62 Maestro Fuzz-Tone by Gibson was the first fuzz pedal, which relied on germanium
transistors. The idea for the pedal was born when musicians looked for a way to reproduce the
sound of a broken console transformer. It became famous after Keith Richards used one in ’65 on
“Satisfaction”. The Fuzz-Tone led to the development of the Tone Bender and other fuzzes. Pete
Townsend’s Fuzz-Tone did sell for an astonishing $12.000 (for a few resistors and capacitators…).
Other users include Eddie Hazel.
Reverb.com: When Did Guitarists First Use Fuzz, Wah, And Other Transistor-based Effects?
Back then, the purpose of a fuzz box also included emulating instruments like violin, trumpet, cello
and organ. Some compare the sound of the riff in “(Can’t Get No) Satisfaction” to that of a
trombone. Listen to this original demonstration record.
The Maestro brand became part of Moog in the 70s.
“The Maestro FZ-1 Fuzz-Tone was the first fuzz distortion device to become widely available
on the market for electric guitars and basses, although there had been other prototype
devices made. It was designed and manufactured by Gibson. The Maestro FZ-1 (along with
its almost identical update the FZ-1a) achieved a peak of popularity in the 1960s. The device
was used by Keith Richards in the Rolling Stones' 1965 hit "Satisfaction" and became a
favorite of many garage rock and psychedelic acts of the time. Gibson re-issued the FZ-1a in
the 1990s, but later discontinued the model.
The Maestro FZ-1 sported a three-germanium transistor circuit with RCA 2N270 devices,
powered by two 1.5-volt batteries, and a lead cable to connect it to an instrument (bass as it
was originally intended, or guitar). Germanium devices are temperature sensitive, and the
effect responds to the incoming signal's amplitude (volume) consistently. Upon release,
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Gibson/Maestro made a demonstration disc available, featuring sound samples of the

different settings of the pedal and guitar combination, emphasizing the "brass-like" quality
of certain tones. The circuit made its way into the body of Gibson's EB-0F "fuzz basses" (circa
1964). Before the Rolling Stones' hit, Fuzz Tone's sales were abysmal. In late 1965, when the
original units sold out, the circuit was revised, using 2N2614 or 2N2613 transistors, with
pertinent biasing network, powered by a single, 1.5-volt battery. The model was re-
designated as the FZ-1a, keeping the same wedge shaped enclosure as the FZ-1. In 1968, an
updated model with a different look and sound was introduced, with a circuit designed by
Robert Moog using a 9-volt power supply and alternatively 2 or 4 silicon transistors, and
labelled the Maestro FZ-1B. It went through 3 circuit revisions. In the 1970s Maestro came
out with the FZ-1S Super-Fuzz, which had a distinctly different look and sound than previous
models” – Wikipedia
More information:
• Vintage Guitar: Maestro Fuzz-Tone

The Maestro is a simple pedal with just two knobs at the side.
• Attack: amount of fuzz (model: Drive)
The Rolling Stones - (I Can't Get No) Satisfaction

The Ventures – The 2000 Pound Bee
Maestro Fuzz-Tone FZ-1 Demonstration Record 1962
1960s Maestro Fuzz-Tone FZ1-A Demo
Maestro FZ-1A Fuzz Tone by Gibson Audio Sample
Gibson Maestro Fuzz Tone Demo FZ-1 A
Maestro Fuzz Tone
Maestro Fuzz Tone 2
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Micro Boost (based on: MXR Micro Amp)
Description Classic clean boost pedal from the ‘80s

Yek’s Tip It doesn’t get any simpler than this: a single gain control
Original Controls Gain (Drive)
MXR, now owned by Jim Dunlop, was one of the largest effects manufacturers in the ‘70s and ‘80s.
Several of their products are now considered to be classics: Dynacomp, Phase 90 and 100, Flanger.
The Micro Boost model is based on MXR’s Micro Amp, an op-amp-driven clean boost pedal. It is a
redesign of the MXR Distortion + pedal without distortion, reportedly. It was one of the first of its
kind. It doesn’t provide distortion of its own (no clipping). It just increases the signal level, causing
the amp to generate more gain. While many boost pedals claiming to be transparent still add color
to the sound, the Micro Amp really is very neutral.
“Adding a preset amount of gain with just a single control, the Micro Amp is a great way to
boost your signal for lead work or adjust between two different guitars with unmatched
output (i.e. humbuckers to single-coils). It can also provide a permanent boost in a long
effects chain where signal drop off is a problem” – MXR
Keith Barr (president and co-founder of MXR), when asked about the Micro Amp (source: Analog
Man's Guide to Vintage Effects):
"That was one of the later boxes that we didn't really care about”
ElectroSmash: MXR MicroAmp Analysis

Pete Cornish’s SS2 reportedly is very similar to the Micro Amp.
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There’s only a single control.
• Gain: adds up to 26dB (model: Drive)
You can argue about the need for a Drive block that acts as a clean boost in a digital environment,
because there are less CPU-hungry solutions. As a matter of fact, there isn’t much difference
between the Micro Boost at default settings and a “null” Filter block with matched output level and
High Cut. But if you are going to create a digital replica of your rig from the ‘80s, include the Micro
Boost.
ProGuitarShop: MXR Micro Amp Boost Pedal

shnobel: Vintage MXR Micro Amp vs Newer MXR Micro Amp
Jim Dunlop: MXR M133 Micro Amp Demo Video
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Mid Boost (custom model)
Description This custom model boosts the middle frequencies like a cocked Wah pedal
Yek’s Tip Makes leads and solos stand out. Use Drive to set the desired amount of gain
The guitar is an instrument that lives in the middle frequencies area. It has no business competing
with bass (low frequencies), cymbals (high frequencies), etc. The mids are where guitars shine.
Emphasizing those frequencies makes a guitar cut through the mix, which works far better than
increasing volume. That’s why some amps, pedals and guitars are equipped with mid-boosting
options.
More information about EQ-ing:
• Premier Guitar: The ABCs of EQ

• wiki: EQ-ing
This Mid Boost is a custom model. These models have no specific real-life equivalents. They solely
exist within Fractal Audio’s processors, implementing ideas and improvements on existing pedals.
The Mid Boost model, based on a virtual silicon transistor, does just that: it boosts the mids through
an already overdriven amp. It makes leads and solos stand out. It sounds similar to a cocked Wah
pedal. A similar effect can be achieved by using a GEQ block, but this Drive model also adds
distortion. A little tweaking gets you a lead tone like Brian May’s. Note that the model sucks a
considerable amount of bass from the signal.
The frequency on which the model operates, is not adjustable. The Drive parameter determines the
amount of overdrive.
Fender Eric Clapton Stratocaster Mid Boost demo

ProGuitarShop: VFE Pedals Focus Mid Boost
Gearmanndude: One Control Purple Humper mid boost pedal
ProGuitarShop: Demeter Fat Control Midboost Boost Pedal
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OD 250 (based on: DigiTech DOD Overdrive Preamp 250)
Description Vintage overdrive pedal from the ‘70s, made famous by Yngwie Malmsteen.
FAS provides models of the original (gray) and reissue pedal
Yek’s Tip Crank Drive and Level and use it to boost a Plexi amp model
Original Controls Gain (Drive), Level (Level)
DOD Electronics (David Oreste Di Francesco) was a famous American manufacturer of pedals and
other effect devices, a competitor of MXR at the time. DigiTech was started as a division of DOD.
These days the DOD brand is carried by DigiTech.
The diode-based DOD 250 Overdrive Preamp pedal was released in the late ‘70s. In. fact it’s one of
the first overdrive pedals. Its circuit is said to be similar to that of the MXR Distortion + (also
modeled by Fractal Audio), but it sounds different, less fuzzy and less raspy. It builds on the LM741
op-amp. The pedal keeps the middle frequencies flat, rolls off bass, boosts highs and adds some
compression when turning up gain. This works very well with an amplifier on the verge of breakup or
overdriven, although some like it with a clean amp as well.
The original “gray spec” OD 250 is the most sought-after version. It runs on a battery; there’s no LED
and it ruins the tone when bypassed. These issues were solved with the release of the DOD 250
reissue in 2013, with the same op-amp, and with increased output level. Fractal Audio modeled
both. EarthQuaker’s Gray Channel is a clone of the original OD 250. And Voodoo Lab’s Overdrive
(also modeled) was based on it.
“The legendary analog DOD Overdrive Preamp 250 is back, with over 40 years of history and
experience behind it. The new 2013 version of the legendary DOD 250 captures all of the
classic tone and wild heart of the original but in no way tames its performance. The 250 is
better than ever before with true bypass, a crisp blue LED indicator, gobs of output, and
modern 9V DC power supply input. Redesigned with a lighter aluminum chassis, sleek yellow
metallic flake and flat black matte bottom paint job, the undefined DOD Overdrive Preamp
250 pedal is the perfect sonic foundation to carry on the legacy of DOD. The DOD Overdrive
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Preamp 250 (2013) has Gain and Level controls, like its predecessors. Gain controls the
amount of distortion, from just a touch of grit to all-out grind. Level dials in some subtle body
for “always on” performance or huge amounts of boost for boosting solos above a dense
stage mix. With the Gain all the way down, crank up the Level to boost your sound and cut
through during your solos. True bypass allows your guitar tone to remain pristine even when
the new DOD 250 (2013) is off. This is a big difference from the original which would color
your bypassed tone. The modern 9V DC power supply input make the pedal more pedalboard
friendly” — Digitech
Review of the reissue in Tone Report

DOD made a signature version for Yngwie, the DOD YJM308, named after a Ferrari 308. Read more
about it on AnalogMan.com.
Fender’s Yngwie Malmsteen Overdrive pedal is also based on the DOD 250. More about 3rd party
clones of the DOD 250 on Reverb.com.
The pedal’s controls are:

• Gain: amount of distortion (model: Drive)
Keep Gain low to make the pedal operate as a clean boost.
Fractal Audio first provided a model of the original gray pedal in firmware Ares 12.00, and added a
model of the reissue in firmware Ares 13.00. The reissue has much more gain.
Reverb.com: DOD Overdrive Preamp 250 (reissue)

Brett Kingman: DOD Overdrive 250 Demo (reissue)
DOD 250 Vs. DOD 250
DigiTech: The New DOD Overdrive Preamp 250
Choptones: DOD YJM308 Yngwie Malmsteen vs DOD 250 Overdrive Preamp
Demo of Fractal Audio’s model
ProGuitarShop: DOD Overdrive Preamp 250
Audiofanzine: DOD Overdrive Preamp 250 – How does it sound
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Octave Distortion (based on: Tycobrahe Octavia)
Description Clone of an original Octavia, designed by Roger Mayer for Jimi Hendrix
Yek’s Tip Use the neck pickup, roll off tone on the guitar, and play close to the 12th fret.
Use it before a slightly dirty amp, or put it before a fuzz
Original Controls Volume (Level), Boost (Drive)
The story is that Roger Mayer, technician for Jimi Hendrix, designed a fuzz pedal for him which
added a ringing upper octave, using frequency doubling (“Octavio”). Hendrix played it on songs like
“Purple Haze”. When a prototype broke down while on the road, Hendrix took it to Tycobrahe
Sound Company for repairs. After Jimi passed away, Tycobrahe started selling the design as the
Tycobrahe Octavia without the consent of Roger Mayer. Different versions of the story exist.
Tycobrahe also built the PedalFlanger and ParaPedal pedals. All these devices are extremely rare,
sought-after and very expensive. Tycobrahe went out of business and the trademark now belongs to
Chicago Iron, who produce the Octavian and other Tycobrahe designs.
More Tycobrahe history…
“Our pedal, by itself, should give you a strong "fuzz face" like sound on the lower neck
positions, and have a hint of octave doubling as you go up the neck, combined with a ring
modulated sound. After the 12th fret especially on the G B and E strings, the octave becomes
even more pronounced.
You may already know about the need to use the neck pickup, with the guitar tone knob
rolled all the way off to start. The pedal will sing and bloom octaves on the higher registers
when followed by a high output distortion pedal, (not all buffered output pedals will do) or
an amp drive channel that is setup for distortion that has a good deal of sustain, like a
Marshall super lead gets when turned all the way up. Then using the neck pickup and tone
knob rolled off, switch on the Octavian.
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Set the Octavian pedal volume knob to achieve unity gain with your amp's clean channel and
the pedal boost knob all the way counter clockwise, or off. Depending on the pickups,
anywhere from the 10th fret and up you should be able to play a note and the pedal will
allow the fundamental note to sound and then bloom into the octave note. By adjusting the
pedal boost and the volume knob of the guitar you can go from blooming octave to double
note (chiming) octave to flute like octave only. It is a system, guitar Octavian, distorted pedal
or amp, guitar output signal level and tone control that make this happen. It is the same with
all the octave up pedals. Forgive me if you already know how to make the octave pedals sing
on your setup, as there is only a certain way that it goes.
At this time you should be able to produce a light quieter octave and ring modulator sound
when using only the Octavian in the signal going to your clean amp channel. Many
references to this tone are on any Band of Gypsies album.
By switching on to your amp's gain channel, or switching on a fuzz/distortion pedal after the
Octavian will produce a singing sustain that blooms into a clear ringing octave. Octave is not
all it can do in this position. Chords in the lower positions are huge and fat. Not just for
playing the Hendrix and Stevie Ray Vaughan set. This pedal blows many other distortion
pedals off the stage when it comes to bottom end drive.
When you get your Octavian pedal fitted properly in your setup, the fun really begins. When
used either way the Octavian pedal is very touch sensitive. It responds to your playing style.
Pick light and the octave comes out earlier. Pick heavy and the fundamental note sustains
longer. Same with the guitar volume knob, turn down the volume for more octave. By
experimenting with the guitar's tone knob, you can produce many different sounds and
octave "sweet spots"” – Chicago Iron
Roger Mayer has produced his own version of the pedal since the ‘80s:
“The OCTAVIA is probably our most famous and distinctive creation. This guitar effect was
designed in early 1967 and featured on "Purple Haze" and "Fire" by Jimi. Its unique tones can
also be heard on such tracks as "One Rainy Wish", "Little Miss Lover", "Little Wing",
"Machine Gun" etc.
The OCTAVIA produces a sound that is an octave higher than the note you are presently
playing. This doubling effect is accomplished through electronic mirror imaging techniques
that are program sensitive and also respond to the feedforward inputs of the player. The
electronic circuitry is analogue in design and will react faithfully to all the subtleties and
harmonic overtones from the guitar. The effect produced is very unique but human in quality.
The unit that is manufactured today is representative of the latest evolution of Octavia that
Jimi used and contains the feedforward and gating effect that my earlier evolutions lacked.
The modern clones today often copy the Tycobrahe unit that in fact was a rip off of my
earlier 24 volt versions. These units were not designed to work optimally with 9 volts and in
fact you would be buying a clone of a copy so it makes sense to buy a unit from the man who
invented it.
Electronically the OCTAVIA is an analogue circuit with the properties of a frequency doubler,
envelope generator and amplitude modulator with addition frequency shaping filter circuits.
The effect produced is subtle to wild depending on the settings used and will respond to the
attack of the player. A clean tone from the guitar with say the tone rolled control rolled off
will produce "ring modulated" overtones that characterise the solo to "Who knows". The
sound is tangibly different if a fuzz unit is in front of the Octavia: an upper octave double is
created, clearly demonstrated in the solo to "Purple Haze". The bright harmonics are more
controllable if the neck pickup is selected and the tone control set to roll off the treble. The
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effect really comes into its own on the top E and B strings from the 7th fret up. A clean and
precise picking style is essential with particular attention to accurate fretting techniques.
Jimi placed the Octavia after a fuzz and wah unit in most cases so it would react to the
combined effects of both the wah and one or more fuzz boxes. It is important to experiment
with how much signal you are driving the Octavia with as this has a great influence on the
sound produced”
Fulltone is another company claiming to have designed an exact copy of the original Tycobrahe
Octavia (a copy of a copy). His Octafuzz is used by Joe Satriani.
"The Octavia was an effects pedal designed for Jimi Hendrix by his sound technician, Roger
Mayer. It reproduces the input signal from a guitar one octave higher and/or lower in pitch,
and mixes it with the original and added distortion fuzz. It reproduces the input signal from a
guitar one octave higher and/or lower in pitch, and mixes it with the original and added
distortion fuzz. The effect was used by Jimi Hendrix and can be heard in guitar solos on the
song "Purple Haze". Hendrix preferred to call the device the “Octavio”, and it is often referred
to as such. After Hendrix's death in 1970 one of the original Octavias became the basis for
the redesigned "Octavia", manufactured by Tycobrahe Sound Company in Hermosa Beach,
California, during the mid-1970s. A limited number of the devices were produced, and today
a used one in good condition sells for over $1,000 on eBay. Stevie Ray Vaughan owned nine
of these devices" – Wikipedia
More information:
• Fuzz Central: explanation of the circuit
• Tone Report: 4 Outrageous Octave Fuzz Boxes
The pedal adds an octave on top of the played note, and also adds fuzz. The recommended way is to
use the neck pickup, roll off tone on the guitar for best tracking and removing the fundamental note,
and play single notes close to the 12th fret.
A low-gain Octavia into a clean amp sounds like a Ring Modulator effect. It's mostly used in
combination with a separate fuzz, either before or after, or into a slightly dirty amp.
The pedal has two controls:

• Boost: amount of fuzz (model: Drive)
Jimi Hendrix: Who Knows

Tycobrahe Octavia
The Pedal Show: Classic Fuzz Tones: Where To Begin?
Jimi Hendrix Experience: Purple Haze
VintageandRare: 1975 Tycobrahe Octavia
Roger Mayer Octavia: Octavio 60 Second Demo
MusicToyz: Fulltone Octafuzz II OF-2
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PI Fuzz (based on: Electro-Harmonix Big Muff Pi)
Description This ever-popular fuzz pedal is known for its saturated sustain
Yek’s Tip Use with a clean amp. Control the amount of fuzz with the guitar’s volume
knob
Original Controls Volume (Level), Tone (Tone), Sustain (Sustain)
The Big Muff is one of the most popular fuzz boxes ever. Many famous players used one at some
time in their careers: Carlos Santana, David Gilmour (“Comfortably Numb”), Smashing Pumpkins
(“Cherub Rock”), Jack White, Jimi Hendrix, Black Keys, etc. It wasn’t used on “American Woman” as
often assumed, but you can hear it on Goodbye to Love” by The Carpenters.
The pedal cascades a fuzz circuit into additional gain stages. This results in long and smooth sustain
and a dark tone. Less spitty when compared to other fuzzes. Because of all that saturation, it sounds
best into a clean amp. It can be used with a bass too.
Electro-Harmonix released the Big Muff Pi with its four silicon transistors in the late ‘60s - early ‘70s.
Its owner Matthews states that this points to the muffled tone, but there are other explanations of a
naughtier nature.
“Hendrix and Santana were among the first to get a piece of the Pi, and for over 40 years the Big
Muff Pi has been defining the sound of rock guitar. Revered by contemporary guitarists and rock
legends for its rich, creamy, violin-like sustain, from Pink Floyd to The White Stripes, everyone still
wants a piece of the Pi!” – Electro-Harmonix
“The Big Muff Pi (π), often known simply as the Big Muff, is a fuzzbox produced in New York
City by the Electro-Harmonix company, along with their Russian sister company Sovtek,
primarily for use with the electric guitar. It is used by bassists as well due to the Big Muff's
low-end frequency response” – Wikipedia
EHX went out of business in the ‘80s. Its owner Matthews relaunched it from Russia (as: Sovtek) in
the ‘90s and took the company back to the USA. There’s an interview with Matthews about this
period in the book Pedal Crush – Stompbox Effects For Creative Music Making.
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The Big Muff has seen many versions, as described here and here, and new versions are still being
released. The first version (aka Triangle or V1) and second version (aka Ram’s Head or V2) are
generally considered to be the best ones. In firmware 4.x and later for the Axe-Fx III, the PI Fuzz
model is based on the Triangle version.
• ElectroSmash: Big Muff Pi Analysis

• Reverb.com: How to Use Big Muffs to Dial-In the Tone of Five Famous Guitarists
The pedal has three controls:
• Volume: controls the output level

(model: Level)
• Tone: controls the tone (model: Tone)
• Sustain: sets the amount of fuzz
(model: Sustain)
The Muff typically has a scoop around 1000 Hz. To prevent the model from disappearing in the mix,
turn up the mids, using the tone controls or the graphic EQ in the Drive block.
The PI Fuzz is featured in the factory preset “Plexi Biamp” on the Axe-Fx III.
"Our model uses a shelving filter but it's not

based on a Ram's Head version”
“Reworked PI Fuzz model based on older

“Triangle” version reference”
Big Muff Pi - Demo by Peter Stroud

Jack White in “It Might Get Loud”
Electro Harmonix Big Muff Fuzz Demo
ProGuitarShop: Electro Harmonix Big Muff Pi USA
Musicoff: Big Muff Comparison
Germanndude: Electro Harmonix Triangle Big Muff
Reverb: Comparing 6 varieties
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Plus Distortion (based on: MXR Distortion +)
Description Designed to get more distortion from an already distorted amp. Randy
Rhoads’ trademark sound
Yek’s Tip It’s a fuzzy distortion. Players often set both controls around 3 o'clock on the
original pedal. If it gets raspy, keep Drive at default and crank Level. Use it
with an already distorted amp
Original Controls Output (Level), Distortion (Distortion)
MXR, now owned by Jim Dunlop, was one of the largest effects manufacturers in the ‘70s and ‘80s.
Several of their products are now considered classics: Dynacomp, Phase 90 and 100, Flanger, etc.
The Distortion + (M104) was released in 1973. The “+” refers to the purpose of this pedal: adding
more distortion to an already overdriven amp. Famous users include Randy Rhoads, Steve Vai (in the
movie “Crossroads”) and Radiohead’s Thom Yorke. Just like MXR’s Phase 90, early “script logo”
versions of the pedal are appreciated more than the later “block logo” version.
The pedal’s hard-clipping distortion is raspy and loose, almost fuzzy at high gain settings, like
overloading the inputs of a console.
“This little yellow box is responsible for those great distortion sounds heard on so many
classic recordings. Set the Distortion control low and crank the Output knob to drive the front
end of your amp for cool blues tones, or max out the Distortion knob for classic early ’80s
hard rock tone. There still isn't any distortion unit on the market that sounds like the
Distortion+. Germanium-powered, soft-clipped distortion. Go from warm, tubey overdrive to
gnarly fuzz. Classic early ’80s hard rock tone” – MXR
“The MXR Distortion + ("Distortion Plus") is a distortion pedal originally designed in the 1970s
by MXR Innovations. As its name implies "distortion," it's a 'distortion' (parallel clipping) but
has a rather mild sound. It has been cloned many times, most famously by the DOD 250
Overdrive (a distortion). The pedal uses a single op-amp and a pair of germanium diodes to
ground (parallel-push) for clipping in a very simple configuration with only Output and
Distortion controls, no tone control; the pedal uses no discrete transistors. Turning up the
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Distortion control increases the amount of distortion and at the same time cuts some bass
from the signal. This pedal is perhaps best known for its crunchy heavy metal sound that was
featured by Randy Rhoads in his work with Ozzy Osbourne. Jerry Garcia of the Grateful Dead
used this pedal exclusively for distortion in the late 1970s. Bob Mould of Hüsker Dü also used
the Distortion + as part of his trademark guitar sound. Dave Murray of Iron Maiden has used
Distortion + since the early 1980s. Thom Yorke of Radiohead has included the + for many of
his signature distortion sounds, using a variety of guitars to achieve various tonal options”
– Wikipedia
There’s a schematic in the November 2015 edition of Gitarre & Bass (in German).
Electrosmash: MXR Distortion + Analysis
The circuit is said to be similar to that of the DOD 250 (also modeled by Fractal Audio), although the
sound is different.
• Output: output level (model: Level)

• Distortion: amount of distortion (model: Distortion)
Fractal Audio’s model is based on diodes.
Dunlop: MXR +
ProGuitarShop: MXR M-104 Distortion +
ProGuitarShop: MXR Script Logo Distortion + Randy Tribute
MXR Distortion plus vs vintage
Reverb.com: Dweezil Zappa Plays the MXR Distortion +
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Rat Distortion and Fat Rat (based on: Pro Co RAT)
Description Venerable distortion pedal with a character of its own

Yek’s Tip The passive Filter knob (model: Tone) is crucial to the tone. With a clean amp,
turn up Drive and Level and turn down Tone. Or like Nuno Bettencourt: keep
Drive close to 0 and Tone at noon with a dirty amp
Original Controls Distortion (Distortion), Filter (Filter), Volume (Level), plus additional controls
on the FAT RAT
The RAT is a famous distortion pedal by Pro Co. The black box is easily recognizable. Famous users
include David Gilmour and Jeff Beck. Nuno Bettencourt never plays without a RAT; his signature
Randall amp has one built-in.
“The RAT is a guitar effects pedal produced by Pro Co Sound. The original RAT was developed
in the basement of Pro Co's Kalamazoo, Michigan facility in 1978. Numerous variations of the
original RAT pedal are still being produced today. The basic RAT has changed in appearance
over the years, but its tone has remained largely the same. Pro Co has also introduced tonal
variations of the RAT, including the Turbo RAT, and You Dirty RAT, among others. The Pro Co
RAT became very popular in the early 1980s, thanks in part to fame gained by its use by
several artists.
It is a distortion pedal with a quite simple circuit, which can be broken down into four simpler
blocks: distortion stage, tone control, output stage and power supply. The design is based
around a single opamp, originally the Motorola LM308 (switched to Texas Instruments
OP07DP around 2002-2003). The distortion is produced using a variable gain circuit with
diodes shorting the output to ground to produce hard clipping of the input waveform. (…)
This construction method is similar to the Boss DS-1 distortion pedal, although there are
major differences between the two circuits. A major difference is the opamp used (the
LM308), known for its poor slew rate; it largely accounts for the sonic difference between the
two pedals” – Wikipedia
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The RAT was a sign of changing times, with guitar players looking for ways to get more distortion.
The RAT was born out of an accident, according to Reverb.com. A wrong transistor was connected
to a circuit board. Its clipping can be harsh and into-your-face. The passive Filter knob is crucial to its
tone. In the first versions it was a conventional tone control, which was changed to a treble roll-off
later. Make sure to experiment with it in the model but be aware: it works the opposite way of the
real pedal.
With a clean amp, the RAT can also sound a little fuzzy, especially on the lower notes. Because of its
hybrid fuzz/distortion character, it’s sometimes referred to as the counterpart of the Big Muff.
Where the Big Muff covers the fuzzy spectrum, the distortion wins the battle in the RAT.
It’s said that a RAT sounds at its best with Vox amplifiers, where other drive and fuzz pedals
sometimes fail. On the other hand, Nuno uses his RAT with whatever amplifier he plays through (see
picture at the bottom). It also works on bass, as proven by Nirvana.
Pro Co produced many versions of the popular ’84 RAT, RAT, including the ’87 RAT 2, ’89 Turbo RAT,
FAT RAT, You Dirty RAT, BRAT, Deucetone RAT and others.
• RAT website
• Tone Report: Coolest Versions of the ProCo RAT
• Guitar Interactive: Pro Co RAT Distortion Pedal
• ElectroSmash: Pro Co Rat Analysis
• Tone Report: The Great Rat Race: A Study In Sound On The Pro Co Rat
There’s a schematic in the December 2015 edition of Gitarre & Bass (in German).
The classic RAT pedal has three knobs:
• Distortion: controls the amount of distortion

(model: Distortion)
• Filter: roll-off filter (model: Filter)
• Volume: controls the output level (model: Level)
"The filter knob has been

modeled but it works backwards”
Nuno Bettencourt’s RAT settings:
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As commented in the original Fractal Audio forum thread, the diode-based Rat Distortion model
lends itself well to experimenting with different clip types, because the clipping stage isn’t affecting
or affected by other parts of the circuit. This model is also often used to soften the Synth block,
adding sustain and smoothness.
Fractal Audio’s Fat Rat model is based on LED (light-emitting diode) clipping.
Those little lights can be used for intentional signal clipping, creating
distortion. LEDs have a lot of headroom and are less fizzy and louder than
other diodes.
Video: test different clipping modes for diy pedals
shnobel: Vintage ProCo Rat vs Newer ProCo Rat

That Pedal Show: ProCo RAT
1988 ProCo Rat 1
shnobel: Big Box Pro Co Rat 1983 vs Pro Co Rat 1986
shnobel: 1985 Pro Co Rat vs JHS Angry Charlie
shnobel: 1986 Pro Co RAT with Fender Jazz Bass through Ampeg SVT
Reverb.com: 1988 ProCo Rat 2
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SDD Preamp (based on: preamp in Korg SDD-3000)
Description The preamp in Korg’s SDD-3000 digital delay, part of The Edge’s rig
Yek’s Tip Set Drive around 1.50 for chime and tight bass
Original Controls Level (Level)
Fractal Audio added the SDD Preamp model in firmware 17 for the Axe-Fx II. At that time, it became
public knowledge that The Edge (U2) had started using Fractal Audio gear. The Edge is known for
being a fan of Korg‘s SDD-3000 digital delay. It’s pretty safe to assume there’s some correlation
between The Edge’s use of Fractal Audio gear and the addition of this model.
The SDD-3000 is a low-resolution (13-bit) 19” op-amp digital delay, released in 1982. Its
embracement by The Edge contributed greatly to its popularity. The built-in preamp has a character
of its own. The Edge reportedly runs the SDD-3000 even without its delays, just for its warm-
sounding preamp. There are no specific preamp controls on the original device, except for an input
level control and attenuator switches.
Unlike the preamp in the Echoplex delay, there aren't many clones of the SDD-3000’s preamp. The
SDD-3000 has been reissued by Korg as a pedal, with the help of Dallas Schoo (pronounce: "shoe"),
The Edge’s guitar tech. Peter Frampton uses it.
• Korg: about the original SDD-3000 preamp and the pedal reissue
• SDD-3000 service manual
Fractal Audio’s SDD Preamp model can be used as a clean boost. Its main attraction is its ability to
compress the signal a little and add sparkle without harshness. It enhances the tone, adds warmth
and chime, and makes highs jump out and tingle, reminiscent of The Edge’s signature tone. You can
also get it to distort, if desired, by cranking the Drive control.
U2 Dallas Schoo Tech and the Korg SDD-3000 Digital Delay Guitar Effects Pedal
DTS sdd-3000OP
The Science of Sound: Korg SDD-3000 Preamp Demo
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Shimmer Drive (custom model)
Description This custom model is designed to boosts vintage Amp models without a
master volume, like Plexi, Fender and Vox amps
Yek’s Tip Run it with low Drive (try 1.50) into a clean amp
Fractal Audio has created a couple of custom models. These virtual drives have no real-life
equivalents. They solely exist within Fractal Audio’s processors, implementing Fractal Audio’s ideas
and improvements on existing pedals.
The “silicon” Shimmer Drive is such a model. Its purpose is to boost Amp models which are based on
amplifiers without a master volume, like certain amplifiers made by Vox, Fender and Marshall. It has
gained a lot of popularity. It works well with both clean and dirty amps, just set Drive accordingly.
The Shimmer Drive sounds similar to models of highly regarded overdrives and require much less
CPU power than those models. So, it’s a fine alternative.
"The Shimmer Drive is my own creation. It is

primarily intended to be used as a boost for Non-
MV amps like AC-15/30's, Fenders and Plexis”
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Shred Distortion (based on: Marshall Shredmaster)
Description A distortion pedal which may have been responsible for the crushing guitar
chords in Radiohead’s “Creep”
Yek’s Tip Turn up Drive and turn down Level, into a clean amp
Original Controls Gain (Gain), Bass (Bass), Contour (Contour), Treble (Treble), Volume (Level)
In the ‘90s Marshall released the Shredmaster. Some say that, by today’s standards, it isn’t really a
metal pedal for shredders. It’s pretty high gain though. It hasn’t received as much appreciation as
Marshall’s Bluesbreaker pedal from the same era, but it did become more popular when
Radiohead’s Johnny Greenwood started using it. Reportedly, it’s used in the chorus of “Creep”.
Guitar Tone Overload: Discontinued Greats - The Marshall Shred Master
• Gain: amount of distortion (model: Gain)

• Bass and Treble: bass and treble (model: idem)
• Contour: changes the character of the mids, scoops
the tone (model: Contour)
The diode-based model has been around since the first-generation Axe-Fx.
Marshall Shred Master

Marshall Shredmaster
Marshall BluesBreaker - DriveMaster - ShredMaster Shootout
Marshall ShredMaster Pedal Quick Test
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Suhr Riot (based on: Suhr Riot)
Description A high gain distortion pedal with three voicings, capable of turning any clean
amp into a hot-rodded beast
Yek’s Tip The Riot is a great model to pick when you need to rely on a Drive block to get
modern rock tones from a clean amp. The Tone control is a treble roll-off
Original Controls Dist (Distortion), Level (Level), Tone (Tone), 3-way Voice switch
John Suhr started his company JS Technologies, after having worked with Bob Bradshaw and Fender.
Suhr is known for his high-end guitars, amps, pedals, pickups etc. Read more about his amplifiers in
the Guide to the Fractal Audio Amp Models.
Suhr’s Riot pedal can turn a clean or slightly dirty amp into a high gain beast. It’s often praised for
sounding like a real tube amp. A later version, “Riot Reloaded”, offers more gain.
“Riot is a versatile high-gain distortion pedal with the sonic characteristics and touch
sensitivity of a high quality 100 watt tube amplifier” – Suhr
The pedal has these controls (more information in the manual):

• Dist: amount of distortion (model: Distortion)
• Tone: treble roll-off (model: Tone)
• Voice: three-way voicing switch. According to Suhr:
o Left: natural, organic tone that responds dynamically to
your guitars volume control
o Middle: high gain territory with a solid midrange, with a
tight bottom end
o Right: vintage high gain response, with excellent definition
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Fractal Audio’s model is based on the original pedal. The three voicings of the original pedal have
modeled into 3 separate models: Ge (germanium diodes), LED (red LEDs) and LED/Si (blue LED and
silicon diode).
The models were originally named Ruckus and were renamed in firmware Ares 13.
Suhr: Suhr Riot Distortion into a Clean Amp

Suhr: Suhr Riot Distortion into an Overdriven Amp
That Pedal Show – 5 Modern Classic OD Pedals into 3 Classic Amps
Suhr: Ian Thornley – Suhr Riot Distortion and Koji Comp (‘Albatross’)
Pete Thorn: Suhr Riot Distortion demo
Mark Day: Suhr Riot Distortion Pedal Demo
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Super OD (based on: BOSS SD-1 Super OverDrive)
Description The competitor to the Tube Screamer, and a favorite of Zakk Wylde
Yek’s Tip Often used with Drive at zero and Level turned up to tightens the amp’s own
distortion. Or use the default settings for a mild overdriven sound
Original Controls Level (Level), Tone (Tone), Drive (Drive)
Dating back to 1981, this pedal still is one of BOSS’ best-selling pedals. And rightfully so. It is the
successor to the legendary '77 OD-1 (also yellow-colored), which supposedly was the first overdrive
pedal on the market (following the fuzz rage and preceding the Tube Screamer) and featured
innovations such as a battery compartment, a LED and electronical switching. The only difference
between the OD-1 and SD-1 is the addition of a tone control.
"The SD-1 Super OverDrive pedal produces the warm, natural distortion of an overdriven
tube amplifier while maintaining the subtle nuances of a player's picking technique. This is
one of BOSS' more subtle and smooth overdrive pedals, perfect for blues and rock" – BOSS
"Unique asymmetric overdrive circuitry for a classic, natural tube amp growl”
"The OD-1 didn’t have a tone control so the engineers felt that the tonal range was limited
because of this. As an answer to the problem they came up with the SD-1. Comparing the
two circuits reveals that they are very closely related and using the exact same overdrive
circuit. When comparing the sound of the two pedals side by side, it is however obvious that
they’re not identical. Opinions are divided when it comes to the question, which one sounds
best, but there is no doubt that they’re both legendary overdrive pedals” – Bossarea
Contrary to the Tube Screamer, the SD-1 features asymmetrical clipping which is the type of clipping
that occurs in tube amplifiers. The bottom and top of the waveform are clipped differently, favoring
even-order harmonics. It's often said that because of this, the sweet sound of the SD-1 complements
an amplifier, rather than changing it.
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The pedal doesn't provide that much gain, it isn't a distortion pedal. You can use it to drive a clean
amp into blues territory, or to push an already distorted amp. With Drive turned down all the way
and Level turned up, the SD-1 fattens the amp's own distortion and tightens the bass.
And it does so admirably, as demonstrated by Zakk Wylde. He used it for a
long time and his own signature overdrive pedal from MXR is based on it.
Here’s a comparison between the SD-1 and the MXR Wylde OD
Also contributing to its popularity is its amazing cheap price. You can buy one for 50 USD or Euros
and create a tone that competes with boutique overdrives. There’s also a Waza Craft version, the
SD-1W. No bad points? Yes, the original pedal is a little noisy because of bleed and sucks a lot of
bass.
The Super OD model is also available as an input boost type in the Amp block.
"Early SD-1s used 1S1588 diodes. Later models used 1N916

and 1N4148. Our reference pedal has 1N916.”
The SD-1 has three controls:

BOSSchannel: SD-1 SUPER OverDrive

ProGuitarShop: Boss SD-1 Super Overdrive
BOSSchannel: SD-1 SUPER OverDrive
TheToneShack: Boss OD-1 Overdrive Pedal Demo
BOSSchannel: SD-1W SUPER OverDrive WAZA CRAFT Series
Leon Todd: Why You Need a BOSS SD-1
Leon Todd: 10 Drive Pedals Compared
Boss SD-1 vs MXR Wylde OD
Boss SD-1 Made in Japan vs Boss SD-1 Made in Taiwan
LawrencePetrossDesign: BK Butler Tube Driver vs TS9 Tubescreamer vs SD1 LPD Comparison
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T808 OD, T808 Mod, TS9DX+ (based on: Ibanez Tube Screamers)
Description The famous Ibanez Tube Screamer, a match in heaven with Fender amps
Yek’s Tip With dirty amps: use the “low Drive + high Level” approach. Or try Tremonti’s
trick: Drive and Level at 10 and Tone at 0
Original Controls Drive (Drive), Tone (Tone), Level (Level)
The holy grail of overdrive pedals and a key component of Stevie Ray Vaughan’s signature sound.
One of his Tube Screamers listed for $11.000 in 2016. Other users include John Mayer, Eric Johnson,
The Edge, Trey Anastasio, Brent Mason, and probably half of all players out there.
The first popular version was the (now very rare) ’79
Overdrive Pro TS-808. Also referred to as “narrow box”
because of its small switch. In 2014 the TS-80835TH reissue
was made to celebrate 35 years of Tube Screamer.
The “narrow box“ was quickly followed in ’80 by the larger
Overdrive Pro TS808 (without hyphen). It carried the
legendary JRC 4558D chip and other improvements. This
one is considered to sound the best, and people are willing
to pay the price for it.
The ’82 TS9, with a larger footswitch and TA75558 chip, but
otherwise the same circuit, sounds very similar to the
TS808, with a bit more presence (and can be modified to sound exactly the same).
Many, many, many versions and reissues followed.
Originally vintage Tube Screamers were made for Ibanez by Nisshin/Maxon. The collaboration ended
in 2002. Maxon now carries their own line.
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"The Ibanez Tube Screamer is a guitar overdrive pedal, made by Ibanez. The pedal has a
characteristic mid-boosted tone popular with blues players. The "legendary" Tube Screamer
has been used by guitarists such as Stevie Ray Vaughan to create their signature sound, and
is one of the most popular and most copied overdrive pedal" – Wikipedia
The Tube Screamer’s unique feature is its mid-hump: it emphasizes the middle frequencies. This is
why it’s a favorite of many blues players. They often play through Fender amps and many of these
are slightly scooped in the middle frequencies area. The pedal helps cutting through the mix.
Another feature of the Tube Screamer is that some of the original clean signal is mixed in at its
clipping stage, which improves dynamics and clarity.
Tube Screamers are also used by rock players to tighten the amp's distortion. Even Stevie Ray
Vaughan used a Tube Screamer to boost his already overdriven amps, with Drive set low and Level
set high. Another approach with high gain amps is to crank Drive and Level and turn down Tone all
the way. Which is what Mark Tremonti does (demonstrated by forum member Leon Todd).
Pedal builders like Analog Man and Robert Keeley offer modding services for Tube Screamers,
increasing gain and bass. Many manufacturers also design pedals based on the Tube Screamer.
The Tube Screamer uses symmetrical clipping, as opposed to asymmetrical clipping used in the BOSS
OD-1, the competitor at the time (released one year before the Tube Screamer), and its successor:
the BOSS SD-1. It’s said that the choice for symmetrical clipping was made because of the already
existing patent of BOSS on solid-state asymmetrical clipping.
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“If you look at the schematic between a Tube Screamer and a Boss OD-1, they’re almost
exactly the same thing,” Lomas says. “The OD-1, though, is what they call an asymmetrical
clipper. When you put a signal in it, it does not distort the top and bottom of the soundwave
the same. Instead, it distorts one differently—the way a tube would. The original Boss
OverDrive was designed to be a tube simulator, which was really big back then because, of
course, most amplifiers were starting to get away from tubes. They were solid-state, and
they really sounded like shit. So, there was a market for tube-simulation pedals. I believe
that’s probably why the Tube Screamer was named the Tube Screamer.
The TS808 also differed from the OD-1 in that it had a Tone control, featured a common JRC
4558D integrated circuit (IC) chip, and had a small rectangular footswitch. “The Tube
Screamer was really the first pedal I saw that had an IC in it,” says Lomas. “All the overdrives
prior to the Tube Screamer were built around transistors.” Lomas contends that the sweet,
vocal midrange sound the TS808 is known for has everything to do with that JRC4558D IC
chip—which explains why Lomas and many other overdrive aficionados prefer the sound of
the original over other permutations of the pedal” – Premier Guitar
More information:
• AnalogMan: Ibanez Tube Screamer History
• Geofex: The Technology of the Tube Screamer
• Premier Guitar: Green Giant – History of the Tube Screamer
• ElectroSmash: Tube Screamer Analysis
• Gitarre & Bass: Ibanez Tube Screamer Story (in German)
The pedal has just three controls:

• Tone: tone (model: Tone). Adjusting Tone doesn’t affect
the mid-hump
Like the pedal, Fractal Audio’s models of the Tube Screamer are popular. The T808 models were
originally based on a TS9DX but the current models are based on the TS-808.
The T808 MOD model incorporates virtual mods for broader frequency range, more gain and more
output level.
The TS9DX+ model, included in firmware Ares 13 and later, is based on the TS9DX pedal with the
Mode switch in the plus (+) position. The TS9DX is the ’98 Turbo Tube Screamer with the original
TA75558 chip plus more features. The model provides more gain and is darker.
The T808 models are also available as input boosts in the Amp block.
"The TS-808 used 1S1588 diodes. The TS-9 used 1N914

(equivalent to 1N4148). The Axe-Fx III model is a TS-808 so it
defaults to 1S1588. Our reference pedal is a TS-808.”
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Tyler Grund: Vintage TS9 & TS808 Ibanez Tubescreamer Guitar Pedal Comparison Clips
shnobel: Ibanez Tube Screamer 1983 TS9 vs 1981 TS 808
That Pedal Show: 5 Modern Classic OD Pedals into 3 Classic Amps
Four Fun Facts About The Ibanez Tubescreamer
shnobel: 1983 Ibanez TS9 Tube Screamer vs 1982 Boss SD-1 Super Overdrive
LawrencePetrossDesign: BK Butler Tube Driver vs TS9 Tubescreamer vs SD1 LPD Comparison
Leon Todd: 10 Drive Pedals Compared
Ibanez: TS9DX
ProGuitarShop: Ibanez TS9DX Turbe Tube Screamer Overdrive Pedal
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Tape Distortion (based on: EQ curve of a reel-to-reel recorder)
Description This custom model applies the EQ curve of a reel-to-reel tape recorder
Yek’s Tip Place it after the Amp block to fatten things up and add a vintage vibe. Use
Drive to dial in virtual tape saturation
This model adds the tone print and distortion of an analog reel-to-reel recorder. It doesn't add much
distortion, but it compresses the sound and makes it fat and chewy. Ritchie Blackmore is known for
sending his sound through a tape recorder in his old days, after ditching his treble boosters.
More information:
• Sound On Sound: Analogue Warmth

• Ledger Note: What Is Tape Saturation?
• WoodyTone: Ritchie Blackmore’s Tone
Put the Tape Distortion model behind the Amp block and use the Drive parameter to set the amount
of virtual tape distortion.
Alternatively, use the Preamp simulation in the Cabinet block. It provides similar simulations without
requiring a block on the grid.
"It's just a generic tape distortion simulator. I used an old

Ampex EQ curve basically"
"The tape drive is meant to be used anywhere in the

chain. I've been using it after the amp to fatten things up
and it works well for that. Be careful though, the drive
block is mono so you can get phase issues if you put it
after a stereo effect"
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want to appear here.
Timothy (based on: Paul Cochrane Timmy)
Description This overdrive became famous through internet forums for its transparency
and covers mild boosting to strong overdrive. Three models cover the pedal’s
three clipping settings
Yek’s Tip A low Drive setting and some bass cut produce the addictive sound of an
overdriven tube amp
Original Controls Gain (Gain), Bass (Bass), Treble (Treble), Level, diode switch
First there was the Tim pedal, similar to the Timmy, but in a larger enclosure and including a boost
and effects loop. Its name was based on Tim The Enchanter (reportedly), the wizard in Monty
Python’s Holy Grail movie. Timmy is Tim’s little brother, who has outlived its older sibling. Both are
hand-made pedals which originally couldn’t be bought from any shop. They had to be ordered from
the designer Paul Cochrane personally. Rave reviews on The Gear Page and other internet forums
contributed to long waitlists. Boutique, but not expensive. These days MXR builds the pedal.
The Timmy is considered by some to be the best overdrive pedal in the world, because of its
extremely transparent, organic character and responsive crunch. It goes along fine with single coils
as well as humbuckers, and stacks well with other overdrives. It can also operate as a clean boost.
“The MXR Timmy Overdrive provides a huge range of gritty, textured tones that enhance
your rig’s sound while preserving its fundamental voice—and in an MXR mini housing, it’ll
free up serious pedalboard space. The pedal’s based on a design from veteran pedal builder
Paul Cochrane that’s widely celebrated among high level pros, from first-call Nashville player
Kenny Greenberg to first-call L.A. player Lyle Workman to rockstar Brad Whitford.
Thanks to Paul’s inventive implementation of clipping options and tone controls, the Timmy
Overdrive is a dream come true for working guitar players. The Clip switch provides three
different clipping styles for a multitude of scenarios, whether you need a big, bold always-on
sound with a ton of headroom to slam the front end of your amp, a more compressed and
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saturated sound for fat chords, or anything in between. The Bass and Treble controls offer
further refinement in two key ways. First, they’re cut-only, keeping your signal’s character
intact while making it super easy to dial in a clean boost. Second, Paul wired the Bass control
to affect your pre-OD signal so that you can your maintain low end at lower Gain settings
and the Treble control to affect your post-OD signal so that you can adjust the top end to
keep dirty settings smooth and musical.
Finally, the MXR design team worked with Paul to select an op-amp that perfectly
complements his expertly crafted design. They chose the LF353, a component well-respected
by Dunlop engineers for providing high output, high gain, and hi-fi signal delivery. The
resulting MXR Timmy Overdrive is a professional-grade must-have for players who want
sweet, harmonic breakup that responds to playing dynamics and maintains a rig’s
personality at a fraction of the standard pedal size.” — MXR
There has been some controversy around pedals from other manufacturers, accused of being exact
copies/clones of the Timmy circuit. This Pedal Show episode demonstrates the similarities between
the Timmy, Jan Ray and Amp Eleven.
More information:
• Wired Guitarist: Analyzing the Hype: Paul Cochrane Timmy

• A Closer Look: MXR CSP027 TIMMY Overdrive
• Bass: cuts bass as it goes clockwise (model: Bass)

• Treble: cuts treble as it goes clockwise (model: Treble)
• A toggle switch changes the diode configuration.
Represented by the three models of this pedal
The Bass control is pre-gain, while the Treble control is post-gain.
“I have a blue one”
“The tone controls are now faithful to the actual

pedal and decrease bass/treble when turned
clockwise”
It’s not been disclosed which version of the Timmy has been modeled. It could be the V2 or MXR’s
version.
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Fractal Audio provides three diode-based models of the pedal with the 3-way switch. Model 1
(switch: middle) has the least compressed symmetrical clipping. Model 2 (switch: top) enables
asymmetrical clipping. Model 3 (switch: bottom) delivers compressed symmetrical clipping. With
asymmetric clipping, the bottom and top of the waveform are clipped differently, favoring even-
order harmonics. Symmetrical clipping can sound more dissonant.
Monty Python – Tim The Enchanter (The Holy Grail)

Gearmanndude: Paul Cochrane TIMMY overdrive pedal demo
Brett Kingman: Tim and Timmy
Gearmanndude: Timmy versus Timmy overdrive pedal – Breadboard vs PCB
Livingroom Gear Demos: Paul C Timmy vs Vemuram Jan Ray shootout
Paul Cochrane Timmy vs. Vemuram Jan Ray
intheblues: Jimmy Overdrive Pedal Quick Backing Track Jam
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Tone of Kings (based on: Analog Man King of Tone)
Description A boost and overdrive pedal with a waiting list of several years
Yek’s Tip For mild overdrive, turn up Drive and Tone into a clean or slightly dirty amp
Original Controls Volume (Level), Drive (Drive), Tone (Tone)
Together with pedals such as the Klon, the King of Tone (aka KoT), made by Analog Man (Mike
Piera), is a pedal in high demand, even at its current price of 265 USD for a new one (used ones sell
for over $ 400). After ordering it will take years to be delivered. Here’s a list of KoT players
Like a couple of other pedals / models covered in this guide, the KoT is a very transparent overdrive
that preserves the tone of the guitar, not too dry, not too saturated. It’s aimed at natural amp-like
sounding overdrive and won’t deliver a lot of distortion. It can handle any kind of amp: Fender,
Marshall, etc.
It’s based on the Marshall Bluesbreaker Mk II pedal (separately modeled by Fractal Audio), rather
than on the ubiquitous Tube Screamer circuit. There have been several versions. The current one,
V4, has been unaltered since 2005.
“We totally redid the circuit with different diodes, chips, capacitors, treble boost, modes-
pretty much everything was changed. And of course the KOT is two pedal circuits in one box.
So our KOT pedal is not much like, and does not sound much like a BB pedal anymore.
Especially the clean or distortion modes are different, and the higher gain option changes it
even more, making it more useful throughout the DRIVE knob range. We used the higher
gain KOT circuit as the base for the Prince Of Tone which came out in 2012, and improved the
DISTORTION mode also on the POT.
The King Of Tone overdrive was designed to take an amp at reasonable settings, and make it
sound like it would sound if it were naturally driven to pure, smooth, tube distortion. It was
fine tuned with Jim's (Jim Weider) 1960s Fender Deluxe Reverb amp to duplicate the sound
when his amp is singing, but at lower volume settings - to simulate the natural tube amp
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distortion of preamp and power tubes. It does the same thing on other amps like Vox,
Marshall, etc, making them sing in their own voice. Jim's amp was modified by our good
friend the late Cesar Diaz, and is about the best sounding Fender amp I have heard. Later on,
I tested the KoT on my own 1966 Deluxe Reverb amp. My amp is stock, and does not sound
that great when it's cranked up. It gets loud but not very warm or singing, a little harsh. My
amp sounds MUCH better using the KoT for overdrive, then it sounds very close to Jim's amp.
The KoT is one of the few overdrive pedals available that is NOT based on a Tube Screamer
circuit. In OD mode, it has a little less drive available than a Tube Screamer. It has quite a bit
more volume available than a Tube Screamer and The TONE control has a similar range. The
KoT has less compression than a tube screamer, and also does not boost the mids or cut the
low end as much. It does not have a large amount of distortion.
Once we had a prototype that Jim liked and used on stage several times, I emailed the circuit
to my collaborator in Japan, Ohbayashi san, and he tried several ideas I gave him. CAMTAC
Ohbayashi san has a suberb ear for details like capacitor and chip selection and came up with
some great ideas for the pedal- a chip and diodes that made it sound even better! The special
JRC chip he preferred was designed for audio tone controls, and has a warm yet clear sound.
The diodes are more open sounding, for a stronger, clearer, less compressed sound and more
volume. All the nuances of your playing and each string of the guitar will come through
clearly.
The Version 4 King of Tone was developed in late 2005 due to popular demand for separate
controls for each channel of the original 4 knob KoT. The original KoT was one overdrive
circuit, with 2 channels, having separate volume controls and internal configurations. Almost
all "dual overdrive" pedals available are like this. The Ver4 KoT is actually TWO overdrive
pedals in one box, one on each side. Remember that each side is a separate pedal, and they
are the same except for how you set the DIP switches. Each side has an on/off switch, LED,
and three independant knobs. Each side also has configuration DIP switches and a TREBLE
trim pot on the inside. Having two actual overdrive circuits allows you to use both pedals at
once, in series (stacking) for even more possible tones and levels of drive!
Each side has it's own Volume, Drive, and Tone control and LED. We use SUPER BRIGHT
Yellow and Red LEDs so you can easily tell which channel is selected. In addition, there is a
TREBLE BOOST knob on the inside of the pedal. This is a small knob or trimpot which can be
turned by hand or with a pick or small screwdriver. Jim does not need more treble for his
Tele, but I found it allowed some superb tones with my '59 reissue Les Paul through my '69
Marshall amp, similar to the sweet yet biting tones of Michael Bloomfield (I believe he used a
Fender Twin amp with his famous 1959 sunburst).
There is also a four position configuration DIP switch on the inside of the KoT which you can
use to choose between Clean, OD, and DISTORTION modes for each side. The modes are:
1) Normal Overdrive mode (OD mode) : This is the standard King Of Tone sound, which Jim
likes best- a little less drive available than a tube screamer. Factory DIP switch setting has
this mode on the right (red) channel. This mode can get about 4 times louder than a tube
screamer if desired. This mode engages SOFT CLIPPING like most overdrive pedals.
2) CLEAN mode : This mode has less drive, can be used for clean boosts or clearer, louder
sounds. It's like a clean boost with an overdrive knob. CLEAN MODE is even less compressed
than the standard OD mode. The factory DIP switch setting uses this mode on the left
(yellow) channel. This mode can get twice as loud as the OD mode. You can think of the clean
mode as the OD mode with the overdrive removed, allowing louder, clearer tone. But the
drive knob still functions and can add some drive to the sound, and volume as it's turned up.
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It's a cool sound with the drive knob cranked! This mode has NO CLIPPING, like most boost
pedals.
3) DISTORTION mode : This mode has more drive than the standard OD mode- a touch of
hard distortion. The sound is more compressed, yet retains the King Of Tone character. This
mode can get about twice as loud as a tube screamer. Think of this mode as a cross between
a Boss DS-1 distortion and OD-1 overdrive, with more clarity. We recommend most players
use the OD and CLEAN modes. While the DIST mode sounds great, and I like to use it on
certain occasions, it does not allow the pedal to get it's absolute BEST tones. You can put an
aged single malt Scotch whisky on ice, but it would be a shame to dilute it! The DIST mode is
awesome with the HIGHER GAIN option. This mode engages HARD CLIPPING like most
distortion pedals and some fuzzes. It's best to turn the OD dip switch down when using the
DIST mode, especially with the higher gain option to avoid duplicate clipping (soft and hard
clipping together).
Either side can be set to any of the three modes, with the DIP switches. I recommend setting
the right side for most distorted sounds and the left for cleaner, then when used together you
get more of a volume boost. But if you want more distortion and compression, you can try it
the other way around too.
At low DRIVE settings, or when playing softly, there is not much difference between the three
modes- they all clean up very nicely as the clipping does not start until you turn the DRIVE
knob up higher. This pedal cleans up a lot better than a Tube Screamer type pedal, if you play
softly or turn your guitar down they will not have the underlying fuzziness that most pedals
have.” – Analog Man
More information:
• Reverb.com: Why is the AnalogMan King of Tone in such high demand?

• Tone Report
• Gitarre & Bass: Analog Man King of Tone (in German)
The diode-based King of Tone model is a digital model of Analog Man’s pedal. Fractal Audio has
modeled the pedal in its OD mode. The Distortion mode doesn’t have the same appeal as the OD
mode, and the pedal’s clean boost capability is already covered by other models.
101

Analog Mike: Jim Weider with King of Tone

That Pedal Show: Analog Man King Of Tone Alternatives: Are There Any?
NickSterlingRocks: Analog Man King of Tone
SuperFunAwesomeHappyTime Pedal Show: Analog Man King of Tone
Carson Lee: Analogman King of Tone V4
Reverb.com: Analogman King of Tone
Dudley Taft: Analogman King of Tone vs Klon Centaur Pedal Shootout
Audiofanzine: Analog Man King of Tone – How Does It Sound?
Intheblues: Analogman – King of Tone Overdrive & Distortion Pedal
analog mike: John Wesley demonstrates the Analog Man King of Tone
Premier Guitar: Rig Rundown - Kenny Wayne Shepherd
Daniel TheGigRig: OVERDRIVE pedals - Analog Man King of Tone, Eternity and others
102
Treble Boost (based on: treble boost circuit)
Description Silicon-based treble booster

Yek’s Tip Turn up the Normal (dark) channel of a Vox or Plexi, dial the guitar’s volume
down. Or tame the low end of a fuzz with it
Original Controls Set (Drive)
This model is based on a classic treble booster circuit. This was designed as an accessory for
amplifiers to roll off lows and boost the higher frequencies, similar to the Top Boost add-on for early
Vox amps, sitting on top of the amplifier. Guitar players soon discovered it was great for something
else: pushing an edge-of-breakup amp into distortion. Emphasis on certain frequencies makes the
treble boost a non-clean boost but, unlike a fuzz, it stays close to the amp's raw tone. It also creates
awesome clean tones when turning down the guitar volume. So, the label “treble booster” doesn’t
really does justice to this pedal’s possibilities.
While the ’65 Dallas Rangemaster may be the most famous one, other brands were also popular, like
the Hornby-Skewes Treble Booster, and Orange Treble&Bass Booster. The circuit is very simple, and
many clones of classic treble boosters exist. But because they are rare, people pay thousands of
dollars for an original. A popular clone of the Dallas Rangemaster is made by Analog Man: Beano
Boost. BSM builds all kinds of treble boosters these days.
Reverb.com: When Did Guitarists First Use Fuzz, Wah, And Other Transistor-based Effects?
Famous treble boost users include Rory Gallagher, Eric Clapton, Ritchie Blackmore (in Deep Purple’s
“Child in time” and “Smoke on the water”), Brian May, Tony Iommi (in Black Sabbath's “Paranoid”),
Mark Bolan, Wishbone Ash and Billy Gibbons.
“The Dallas Rangemaster Treble Booster was an effects unit made for guitarists in the 1960s.
Its function was two-fold: to increase the signal strength of the guitar going into the
amplifier, and to increase tones at the high end of the spectrum (a treble booster).
103
The need for a treble booster arose in the mid-1960s as British amplifiers such as the Vox
AC30 or Marshall JTM45, tended to produce a slightly dark, muddy sound when overdriven,
particularly when used with humbucking pickups. A pre-amplifier that also boosted treble
proved a solution.
The Dallas Rangemaster Treble Booster was first made in the 1960's by Dallas Musical Ltd.,
incorporated in 1959. It made guitars and amplifiers under different brand names, including
Dallas, Shaftesbury, and Rangemaster.
The unit is simple, and consists of a grey metal box with an on/off switch, a potentiometer
for the booster setting, and an in- and output. It is made to stand on top of an amplifier
rather than on the floor. Its circuitry is simple, and contains (besides the potentiometer--
usually 10K, sometimes 20K--and the on/off switch) only a germanium transistor, four
capacitors, three resistors, and a battery. The transistor was a Mullard or unbranded OC44 or
Mullard OC71.
By the 1980s Treble Boosters had gone out of fashion. How many Rangemaster Treble
Boosters were built is unknown. Due to limited supply on the second hand market they are
collectible, even if the going rate is only a fraction of what it used to be in the mid-2000s. In
Premier Guitar, Kenny Rardin describes his quest for one of the effects, which started with
puzzlement over how Eric Clapton and Ritchie Blackmore achieved their tone; he spent years
looking for a Rangemaster.
Rumours of Eric Clapton having used a Rangemaster Treble Booster during his stint with John
Mayall's Blues Breakers have never been confirmed. Photos of the recording sessions of the
"Blues Breakers With Eric Clapton" exist, but a Rangemaster Treble Booster is not visible in
any of them. It is assumed the rumours started in the late 90's when clones of the
Rangemaster Treble Booster” – Wikipedia
More information:
• Gitarre & Bass: Treble Booster im Test
• Vintage Guitar: The Dallas Rangemaster
• Premier Guitar: The Rangemaster
• Electrosmash: Dallas Rangemaster Treble Booster Analysis
• Guitaraholicsu: The Dallas Rangemaster
• GEO Fex
The Dallas Rangemaster’s only knob was “Set”, which adjusts the amount of boost.
"Boost was a switch and engaged the

effect. Set was the amount of boost
and is equivalent to Drive"
To get the most out of a treble booster, use it as intended: with the Normal (dark) channel of a Vox
or Plexi which is turned up a lot, and with the guitar’s volume turned down.
104
Fractal Audio’s Treble Boost model is modeled after a silicon treble booster. It has not been
disclosed which actual circuit it is based on. The Rangemaster used germanium transistors, while
Hornby-Skewes built silicon-based boosters.
The Eternal Love model can also operate as a treble booster. And Fractal Audio provides a separate
Mid Boost model.
The Treble Booster is also available as an input boost type in the Amp block.
Vox AC30 ‘63 JMI with a ‘66 Dallas Rangemaster Treblebooster

TheToneShack: Analogman Beano Boost Treble Booster Pedal Demo
British Pedal Company: Vintage Series Dallas Rangemaster
TasteVEVO: Rory Gallagher - What’s Going On - Live At The Isle Of Wight Festival / 1970
That Pedal Show: Tremendous Treble Boosters for Glorious Classic Drive Tones
Pete Thorn: Treble Boosters: The Most Underrated Guitar effect
105
Tube Drive (based on: Butler Tube Driver)
Description This pedal with a tube inside was used by Eric Johnson on “Cliffs of Dover”
Yek’s Tip The 4-knob model has more gain than the 3-knob version
Original Controls 3-knob: Out Level (Level), EQ (Tone), Tube Drive (Drive)
4-knob: Out Level (Level), Hi EQ (Treble), Lo EQ (Bass), Tube Drive (Gain)
The Tube Driver is one of those rare pedals that contains a real tube and actually uses it. It was
originally designed by B.K. Butler, now Butler Audio, a keyboard player, to simulate an overdriven
Hammond organ (think: Deep Purple).
Eric Johnson used a Tube Driver into a Plexi when recording his classic “Cliffs of Dover” recording.
Other famous users include Joe Satriani, David Gilmour and Billy Gibbons.
The name of the unit can cause some confusion. We have the Chandler Tube Driver, the Tube Works
Tube Driver and the Butler Tube Driver. Butler’s first prototypes were marketed by a 3rd party:
Chandler. According to Butler, Chandler ran off with the design and began selling copies, excluding
Butler from the deal. Butler then started Tube Works, later simply named Butler.
“Actually the Chandler thing was a relatively minor incident in the overall history of my
business activities. There’s not enough room here to elaborate much, but the truth of the
matter is that somehow Chandler decided at one point that they had been the designer of
the product, came up with the TD trademark and that I was infringing on their IP. They
obviously had somebody attempt to copy the electronics and the physical design of my TD,
then produced and sold them. I don’t know how many unauthorized units are out there. The
mistakes inside are essentially within the EQ area and it would take too long to describe
them. Also there is a basic ground loop mistake as well. The overall sound of the C copy is
somewhat muted and not as clear on the upper harmonics, etc. Eric Johnson never used one
of these copies as far as I know. All his pedals are ones I personally made. I never could
understand why Chandler did that copy thing… They even challenged me in court and tried to
107
convince the judge that Chandler was the actual owner of my design and the Tube Driver
trademark. But the truth was obvious: In the end what was mine to begin with remains mine
still… I then designed the black Real Tube pedal in 1986 which I still think is a superior pedal
in some ways to the Tube Driver (ZZ Top’s Billy Gibbons agrees) and then went on to design
all my Tube Works SKUs: MosValve, Tube Works Real Tube rack products, combo amps and
reverb… then the smaller 3 knob version of the Tube Driver was designed in an attempt to
give an entry level price to tube lovers. Actually I never completely stopped making original
Tube Driver pedals, but just didn’t emphasize them so much during the early TW years. Later
in about 1993 or 1994 I revived the pedal in earnest and named it after my ‘love on 4
wheels’, the model 911. Many will be glad to know that I’m now making a few new Tube
Drivers per month again due to word of mouth ‘push’. They have better components than the
original as far as pots, capacitors, etc. I still use metal Switchcraft jacks and they’re
completely true to the original design” – Butler
"There is NO Chandler Tube Driver… Never was a Chandler Tube Driver! They just marketed it
for a while. But I do understand the confusion caused when I allowed their name to be
included on my product. My lesson was well learned… enough said” – Butler
More information:
• Tone Report: Coolest Tube-Powered Pedals

• Kit Rae’s Tube Driver Page
Eric Johnson uses the 4-knob version into his Plexi (actually, 5
knobs because it has an additional Bias control) and turns off
Bass and Treble completely. Most players seem to prefer this
version of the pedal because it is true to the original, according
to Butler.
But when it comes to Fractal Audio’s models, the 3-knob model seems to be the clear favorite. This
model is based on the entry-level Tube Driver, has more top end and its gain is more manageable.
"The 3-knob version sounds very different than the 4-knob version"
"Both of my actual pedals go silent with the Drive set to zero as

would be expected looking at the design"
108
Original controls on the 3-knob version:

• Out Level: output level (model: Level)
• EQ: tone (model: Tone)
• Tube Drive: amount of distortion (model: Drive)
Original controls on the 4-knob version:
• Out Level: output level (model: Level)

• Lo and Hi EQ: bass and treble (model: Bass and Treble)
• Tube Drive: amount of distortion (model: Gain)
Texas Blues Alley: BK Butler Tube Driver Demo

Marshall JVM 410JS with B.K. Butler Tube Driver demo
shnobel: BK Butler Tube Driver
Premier Guitar: Rig Rundown - Eric Johnson (2018)
Gearmanndude: TubeWorks 3 knob Tube Driver guitar pedal demo
BK Butler Tube Driver vs Ibanez TS808 Tube screamer
LawrencePetrossDesign: What's Inside This BK Butler Tube Driver Real Tube Overdrive
LawrencePetrossDesign: BK Butler Tube Driver vs TS9 Tubescreamer vs SD1
B.K. Butler Tube Driver (5-knob w/ Bias Control)
That Pedal Show: Thoughts On Valve Overdrive Pedals, Part 1
109
Zen Master (based on: Lovepedal Hermida Zendrive)
Description The original “Dumble-in-a-box” pedal

Yek’s Tip Use humbuckers into a clean Fender, crank Tone (because it’s a treble cut),
increase Voice and keep Drive low
Original Controls Vol (Level), Gain (Drive), Tone (Tone), Voice (Voice)
This model is based on the famous “Dumble-in-a-box” pedal, used by Robben Ford to get thick
Dumble tones from a Fender amplifier. Other players include Gary Clark Jr. It was designed by
Alfonso Hermida, a former airplane and NASA employee. Read more about Dumble amplifiers in the
Guide to the Fractal Audio Amp Models.
Hermida has teamed up with Lovepedal to build his pedals. At the time of writing the Lovepedal
website has been down for months and the state of the company is unknown.
The pedal excels at thick, creamy overdrive with lots of mids, but different from a Tube Screamer.
It’s very dynamic and responds well to the player’s attack. It works best with clean Fender amps.
Also, many players prefer it with humbuckers.
“The standard in dynamic, touch-sensitive overdrive pedals. Cut through the mix with the
incomparable Zendrive. Inspired by a legendary guitarist, the Zendrive delivers blues,
country, jazz and fusion tones associated with some of the finest, most costly amplifiers in
the market. Four knobs control the overall volume, gain, tone and voicing of the pedal. At
lower settings, the pedal offers extremely light overdrive sounds reminiscent of tube amps
set near the “sweet spot.” At higher settings, the Zendrive increases in gain and sustain,
producing tasty overdrive and low distortion tones” – Lovepedal
“It always sounds scratchy during sound check, but once the band starts to play, it sounds
great. It’s a mystery” – Carl Verheyen in Tone Wizards
111
More information:
• review in Premier Guitar
• Robben Ford’s Zendrive settings
• Guitar Interactive: Zendrive Overdrive Pedal
Original controls:
• Vol: output level (model: Level)

• Gain: amount of overdrive (model: Drive)
• Tone: acts as a high cut (model: Tone)
• Voice: cuts lows and controls the gain range (model: Voice)
The Voice control is key to dialing in the gain and bass response. Try turning up Voice and lowering
Drive. Keep Tone cranked because it’s a treble cut.
"When I used the schematic on the web the model sounded

nothing like my pedal. So I opened it up and made some
measurements. The schematic on the web shows the Drive pot
as being 500K but mine measures 1M. My feedback cap is 47
pF whereas the web schematic is 100 pF. Maybe when
Lovepedal took over the build they changed some values. The
model reflects our reference pedal”
Sean Michael: Zendrive 2013

Intheblues: Hermida Audio Zendrive Pedal
Session: Hermida ZenDrive
That Pedal Show: Dave Kilminster's Live Rig
That Pedal Show – 5 Modern Classic OD Pedals into 3 Classic Amps
Hermida Audio Zendrive by Lovepedal
Hermida Audio Zendrive
Haar Guitars: Zendrive
Premier Guitar: Rig Rundown - Robben Ford
Camilo Velandia: Hermida Audio Zendrive Shootout | Original vs Modded vs Zendrive 2
Camilo Velandia: Axe-Fx 3 Zen Master Vs Hermida Audio Zendrive
112

Yeks Guide To The Fractal Audio Drive Models

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Yeks Guide To The Fractal Audio Drive Models

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Alexander van Engelen

Yek’s Guide to the Fractal Audio

Yek does not own the copyright to any of the photos.

After finishing my Guide to the Fractal Audio Amp Models, I thought

• Analog Man’s Guide to Vintage Effects, available here

Knobs and Controls

Mix and Dry Level

• Reverb.com: The Difference Between Fuzz, Overdrive and Distortion

Fuzzes and Impedance

Change an Amp Model into a Drive Model

Use a Drive Model instead of an Amp Model

Diode(s) BB Pre | Blues OD | Box o’Crunch | Esoteric ACB | Esoteric RCB |

BB Pre (based on: Xotic BB preamp)

The pedal has four knobs:

• Gain: amount of overdrive (model: Drive). Usable across its

The model is based on the original version of the BB preamp pedal.

Xotic: Andy Timmons – BB preamp

Bender Fuzz (based on: Sola Sound / Vox Tone Bender)

• Premier Guitar: Stompbox Classics

• Level: output level (model: Level)

Sola Sound Tone Bender Fuzz

Bit Crusher (custom model)

• Lower the low and high sliders in a GEQ block

Fabfilter: The Higher The Better, Right?

Blackglass B7K (based on: Darkglass Microtubes B7K)

Controls on the original pedal:

• Blend: mixes clean signal with overdriven signal

Darkglass Electronics Microtubes B7K - Bass Demo

Blues OD (based on: Marshall Bluesbreaker Mk1)

Description This light-to-moderate overdrive pedal replicates Eric Clapton’s cranked

The pedal has three knobs:

• Gain: amount of overdrive (model: Gain)

John Mayer sets all controls on the pedal to 3 o'clock, reportedly.

"One of the more impressive circuits is the BluesBreaker.

TheToneShack: Marshall Bluesbreaker MkI Overdrive Pedal Demo

Box o’Crunch (based on: MI Audio Crunch Box Distortion)

Description One of the most popular Marshall-in-a-box pedals

“The model is based on a V1.”

The Tone Shack: MI Audio Crunch Box Distortion Pedal Demo

Compulsion Distortion (based on: Fulltone OCD V1)

Description A modern overdrive/distortion classic with a wide gain range

“I think it's my favorite drive. I can see why the

• Music Radar: Fulltone OCD

• Drive: amount of overdrive (model: Drive)

Esoteric ACB (based on: Xotic AC Booster)

Description One of Xotic’s overdrive pedals, warmer and thick

The pedal has four knobs:

• Gain: amount of overdrive (model: Gain)

Xotic: Xotic Effects AC Booster

Esoteric RCB (based on: Xotic RC Booster)

Description Popular clean boost and tone enhancer

“The best characteristic of this booster is to have no character at all”

The pedal has four knobs:

• Gain: overdrive (model: Gain)

The model is based on an original RC Booster (v1), now discontinued.

Xotic: Interview with Michael Thompson

Eternal Love (based on: Lovepedal Eternity)

The Eternity pedal has three knobs:

• Level: output level (model: Level)

Lovepedal Eternity Burst - E6 – Roadhouse – Kanji 9

FAS Boost (custom model)

Description This custom model aims to be the “ideal boost pedal”

"It's not based on anything. It's