Overdrive pedals

In a collaboration, Vogart Audio and Liberatoe engineered KEEPIT LEMON, a dual overdrive that offers the flavors of a BluesBreaker and Hot Cake drives, which you also can stack for a big gain-stage result. The front end ‘hot’ drive (Red Channel) has a warm midrange and flowing high ends for that crisp breaking up, harmonically-rich grit. It ranges from a clean boost to a gain boost, all the way up to crunch, then distortion, and eventually a thick fuzz. Adjustments then can be made via a guitar’s tone knob, although tones are darker with more gain and humbuckers with some amps, whereas brighter amps and single-coil pickups tend to maintain tone more consistently. https://www.youtube.com/watch?v=PR8I5Q43p5o The ‘breaker’ drive at the rear (Green Channel) is fairly transparent and more of a ripper. As well, it includes a 3-way toggle to emphasize specific mid-range frequencies (middle is flat, whereas 2.4kHz to the left has more bottom end and 7.2kHz to the right has more of a bite). Another feature for this channel is a Presence control, for that added sparkle or sizzle. Under the chassis is an asymmetrical clipping option (adjusted through internal DIP switches), which I did not explore in the video… everything sounded pretty darn good as is. Even with all that, a key feature with this pedal, and other Vogart/Liberatoe collaborations, is the ability to Stack. As a result, the extent of tones possible with various mixes of the two drives (with different EQ, Gain and Volume levels) is wide-ranging. Even how you integrate the two can vary, e.g., regular crunch for rhythm (from one of the select drives), then stacked for lead. The Channel toggle switch allows for the following combinations: • Toggle Up: Green or Red channel selected • Toggle Middle: Green or Stacked • Toggle Down: Red or Stacked Channels then are selected via the footswitch (a quick click turns KEEPIT LEMON on/off, whereas a brief 0.5 sec hold switches channels). KEEPIT LEMON is true bypass, and implements high input impedance and low output impedance to ensure effective use of pedals before or after it, and each overdrive/channel has its own stabilization circuit for quiet operation. The robustness of sound likely is supported by internally boosting the input from 9V to 18V, thereby providing high headroom, while maintaining the original signal. As well, the quality of tone flow, while aiming to eliminate tone color in the components, is the result of an electro-mechanical relay signal path, rather than using typical FET or analogue switch components. I think what makes KEEPIT LEMON so useful and effective, besides it’s great sound production, is its diversity. From clean boost, to cutting edge grind, to thick fuzzy distortion, there are elements and tones suitable across a broad spectrum of music styles. This is not the only Vogart/Liberatoe collaboration pedal I have tried or reviewed, and they are simply impressive, to say the least. KEEPIT LEMON is available as a standalone pedal ($159 USD) or as a module ($89 USD) for a Liberatoe platform system, while drawing 120mA power. https://www.vogartaudio.com/keepit-lemon

GRIM3 is a ‘sick’ pedal, and in a good way. What may throw off some people is that this is not a hi-gain pedal, despite the name or that it comes from its creator, This Heavy Earth. The function and breadth of this pedal makes it very usable in so many situations, but I will address the hi-gain crowd first. Think of GRIM3 as a tone sculptor and enhancer (but not like the ‘enhancers’ typical in the market, as I use that term loosely). The concept is to find your base tone or sound, something you are happy with, but you want it to sound tighter, more aggressive, greater definition, etc. In effect, you want it to sound better and like what you are hearing in your head. This is where GRIM3 shines. The EQ is the most basic, with subtle bass and treble controls that help to hone in on your sound after setting the other controls, e.g., you may add more tightness and bite, which increases treble response, and so… you can dial back on treble. Simple enough. BITE controls frequency contour from low mids to high mids, which increases the attack of the notes. TIGHT controls the pre-gain high pass to tame the low end. Combine these two and this is a chugger’s paradise. These can be adjusted to achieve that metallic-sounding modern-metal chug, which I could not get previously from my hi-gain amps and preamps. BLEND and GAIN work in unison. BLEND controls how much buffered dry signal is in the mix, versus 100% wet signal (which has more saturation and the nature/quality of the GAIN becomes more noticeable). GAIN ranges from low to moderate, which means you can get very good rock tones when cranked from a clean amp, but certainly works wonders when turned low and combined with a very dirty or hi-gain amp. BLEND is very much to taste, depending if you want a more robust sound with more headroom or a more saturated and compressed sound. Now, how does this work with clean to dirty (e.g., rock blues)? GRIM3 has the potential to be one of those always-on pedals, at least that is the role of GRIM3 in my studio. Cleans sparkle and sound vibrant, whereas dirty tones sound more aggressive and full-bodied. In both instances, I keep the Gain relatively low while adjusting the BLEND to taste. And this is where the BITE and TIGHT come in handy, as they hone in on the sparkle and punch brilliantly. Also note that I did not demo certain internal settings, as I found factory settings sounded best to my ears and relative to my use. There is an internal LPF trim that allows you to smooth out the high end of the gain output. There is an internal clean boost trim that adjusts from unity buffer to clean boost on the 100% dry side of the BLEND. There are DIP switches that allows for symmetrical LED, a diode lift/none, or asymmetrical silicon clipping options. Some of that tech jargon is over my head, but I get the gist and did fool around with those controls; they do produce modest, but obvious changes in how GRIM3 responds (you can hear it, but any change is not dramatic. Again, I thought the factory settings were spot on and different people have different preferences and tone expectations. You also can control the brightness of the LED light internally. Since having GRIM3, this pedal has been in constant use, whether I am pushing some hi-gain tones, or playing clean chords, or anything between. At $189 USD, this pedal is priced very reasonably… a typical cost among reputable pedal brands, and particularly being hand-built one at a time in the USA. But with so many sculpting tools at your disposal, you get a lot of value. I place this is in my top pedals for 2023!

Darwin is an analog touch-sensitive overdrive that can be purchased as a stand-alone pedal or as a module for the LiberaToe system (pedalboard/switcher). It’s amazing how any pedal or amp can sound different, depending on one’s speakers/cab sim, and so, be aware that the demo uses the Hagerman One Watter amp in the first part, together with a dual cab-sim (Fender Blackface + AC30). Stick a Marshall or MESA cab in there, or a different amp, and you get different tones. And this can be heard in the second part, using the Rivera Venus amp and its built-in cab sim. Regardless, there are a few key descriptors for this pedal: robust with a healthy dose of growl and grain. Darwin is very much amp-like, in that adding this moderate-to-high-gain drive to a clean amp is like adding another channel… and without sounding artificial, over-processed, etc. It has some meat on them bones. The demo accompanying this review should make Darwin’s worth obvious, as the detail and harmonics literally dance about in the mix. And this pedal has a lot of headroom, created by the internal 18V supply, thus making a clean channel sound like a specialized high-gain amp. Besides the sound quality, Darwin has a few features worth noting, including its dual-channel capability. The Green channel has its own volume and gain controls, but also a Middle control that allows you to scoop or add mids, whether going for an 80s Metal tone or something more Classic Rock. The Red channel has its own volume and gain controls, but also more saturation (its middle is fixed at 12-noon internally). Obviously, this pedal was created to merge rhythm and solo, with channel switching accessible within 0.4 seconds of holding the footswitch. Both channels share Presence (high-end control, just like an amp), Treble and Bass. They also share a DeFAT knob that eliminates that bottom end boom, flub and fizz, so that heavy muscular riffing remains tight and clear in the mix. This also means you can add some meat to thin sounding tones. Although Darwin is a moderate to high-gain overdrive, it can merge with high-gain amps. I demoed this toward the end of the video, but two things of note: 1) I reduced the amp’s gain on its dirty channel to about 10-o’clock; and 2) I reduced Darwin’s Gain (on both of its channels) to zero, or all the way down (similar to adding a turned down Tube Screamer to a dirty amp for the purpose of providing some push or drive). That is how much attitude Darwin has, and it works well if you keep those two things in mind and in check. Darwin requires 160mA of power (typically negative center pin) and has a very solid build.

• 
• 
• 
• +1

The term ‘organic’ may be overused in the music industry, and perhaps a bit of a peculiar nomenclature to describe circuits and electronics, but its applicable nonetheless when comparing sounds that tend to be full-bodied and rich, as opposed to those sounding more sterile or flat. It also suggests that the sound has a more ‘natural’ robustness, or what we have come to expect from tube amplifiers and analog equipment – which solid state and digital technologies strive to achieve. The Hagerman Overdrive is such an ‘organic’ piece of gear and it deserves far more recognition than it has received. Interestingly, the designer, Jim Hagerman, is not a guitar player, but has been designing analog circuits for nearly 40 years, based on what he likes and what sounds good in a guitar tone. The end result is the Hagerman Tube Overdrive, which consists of a 12AX7 and guts that cannot be found anywhere else – since Jim designed the overdrive from scratch and not based on other circuits or popular overdrives. When first using this overdrive, it becomes apparent that it is unique in sound and how it ‘stimulates’ an amplifier with an enhanced warm, lush and flourishing tone. I’ve used and reviewed other overdrives that have higher gain and tend to be a cross between drive and distortion, and some do have very natural amp-like qualities, as though the amp itself is hot-rodded. The Hagerman Overdrive adds enough heat and crunch to transform a clean amp into a classic rock machine, but definitely engineered to turn a high-gain amp into a beast that sounds professionally modded. Moreover, and as important, it truly does sound amp-like, thanks to the 12AX7 tube and Jim’s genius – and it is very, very quiet. The Drive control/amount can be so low that it is nothing more than a fantastic clean boost, and once approaching 10-o’clock the tone enters crunch territory. When fully cranked there is a good amount of fat preamp-style overdrive, but nothing that screams, which means this is a low-to-moderate gain pedal. Moreover, up full and the drive remains incredibly clear and defined without muddiness or muffling in tone. There’s also plenty of headroom with that gain, thanks to an advanced boost converter that generates high voltage. (On that note, be aware that the pedal comes with its own 9VDC 450mA power supply that has a POSITIVE center – most pedalboard power supplies have negative center pins). What I also noticed is that the EQ controls’ range are not excessive– both Bass and Treble give a very decent amount of cut or boost that remains highly useful in a guitar’s frequency range, thus making it easy to dial in for just the right sound. I suspect the Hagerman Overdrive is not as popular as it should be due to its overall design, being more affluent in (and created originally for) studios, as opposed to going on tour and fitting (height-wise) in pedalboard cases with low top profiles. However, for those playing small gigs and lugging an open pedalboard, it shouldn’t be an issue. And, with so many guitarists being content with in-home studio playing and recording, the Hagerman Overdrive is the cat’s meow. Each powder-coated Hagerman Overdrive is hand-built in the USA (direct from Hawaii). At $229 the price is rather reasonable considering many other high-end overdrives are comparably valued; and the Hagerman’s sound is unique and of the highest quality components, including metal film resistors, high-temperature electrolytics, polypropylene capacitors and a custom designed folded-aluminum chassis. If that isn’t enough, the Hagerman Overdrive comes with a 10-year warranty, which is unusual in an industry of 1 to 3-year warranties. If you’re looking for that real-tube result that enhances the natural sound of your amplifier, the Hagerman Overdrive needs to be a consideration as it is a serious contender.

• 
• 
• 
• +3

SOUND: The 112+ can range from low gain to thick and heavy while producing varying tones, certainly with the help of having three different and unique ‘Voices.’ Obviously keeping the Drive low will produce only modest results, whereas pushing it to 1-o’clock (its sweet spot) or beyond (which produces more saturation) exposes the 112+ character best on a clean channel. On a dirty channel, and with the 112+’s Drive low, the pedal works great as a tone shaper and Treble Booster. The Voice switch is what gives the 112+ balls – center position introduces light bass for a more vintage sound, left position has mid bass with a more modern sound and punch, and right has more bass for a fatter sound (less Drive tends to work best with that voicing, unless you like that heavy proto-metal quality). In all instances you get a very organic and grainy tone. All three EQ knobs (bass, mid, treble) have a very usable range and sound good, whether turned all the way up or all the way down (12-noon = flat). With plenty of headroom (the Level knob remains at 9-o’clock in the demo video), the best was to describe the 112+ in general terms is “a solid rock tone generating pedal.” There are plenty of tone options, but through a clean channel it is not high-gain; rather, anything from light rock, to classic rock, to psychedelic rock would find good use for the 112+. And, as stated, you could add the 112+ on low gain to a high-gain channel or amp and use it as an effective tone sculptor/treble booster. Other tone features include a built-in buffer along, an insanely loud volume output due to the built-in amplification stage, and high-quality op amps to keep noise reasonably low. OVERALL IMPRESSION: The designer of the 112+ came up with this pedals’ concept while rewiring a solid state combo amp, giving it a modified circuit for a ‘monstrous’ sound. Based on that circuit as a starting point, Demedash Effects created a pedal with three Voices, each of which introduces progressively more bass with unique clipping stages. The ‘light’ and ‘moderate’ voices range from classic to more modern Rock, whereas the third voice adds enough bass that it truly can be monstrous and heavy (fantastic for stoner rock). That third Voice has a particularly huge amount of headroom (although all three positions do), partly due to the added bass, but certainly as a result of the power input’s design, viz., “The 112+ takes a standard Boss-style 9.6v, center negative Power supply connector as used on most guitar pedals. Internally, however, an LT1054 charge pump is used to boost that up to 32v for an insane amount of headroom.” What’s more, within the pedal the signal enters a JFET preamp to create a clean boost; and so, even with the Drive turned down completely you still get a boost effect along with an active EQ. It’s after the JFET preamp that the circuit enters the Voicing circuit to allow for a wide array of tones and sounds, from light gain to fat and dirty. Of course, all this then is controlled by the Drive and then the EQ (to cut or boost) so that you can sculpt your tone accordingly. Overall, at $200 Canadian, the 112+ offers plenty of tonal possibilities, but also the ability to use the pedal as a boost or tone shaper when working with high-gain gear. Best of all, the 112+ is unique and sounds less ‘generic’ than other drive pedals. GENERAL USE: You can get some excellent results with the 112+ and without much tweaking. This is particularly true of the EQ, since boosting or keeping plat the Bottom, Mid or Top all sound pretty decent (nothing muddy or shrill). There is a lot of headroom with this pedal, and so begin with the Level completely down, or perhaps at 9-o’clock to start. Place all EQ knobs at 12-noon (which is flat); from there you can increase or decrease any of the frequencies up to 5dB. If you’re looking for nothing but a clean boost, then keep the Drive all the way down. With the Drive at 9-o’clock you get a modest effect in dirt, whereas the quality of dirt really shines around 12-noon to 2-o’clock (at least with the light and moderate Voices and on a clean channel). If using the heavy Voice I find the Drive should be around 9-o’clock to 12-noon, depending on your tastes and how defined (less saturated) you want it. Going beyond 12-noon is fine if you like that heavy proto-metal psychedelic massive sound. When using the 112+ with a higher-gain channel or amp, the Drive should be relatively low, about 8-10 o’clock (just enough to add some ‘edge’ to the high-gain tone). Tweaking the EQ then further sculpts the sound effectively for some added bite. OTHER DETAILS: The 112+ is a standard-sized pedal, measuring about 112 mm (L) x 65mm (W) x 60mm (H) with knobs (4.4 x 2.5 x 2.36 inches). The heavy-duty metal chassis has the unique Demedash graphics with white knobs (a mix of retro and modern in its vibe). The five knobs (Drive, Level, Bottom, Mid and Top) feel of heavy plastic and will withstand normal use and abuse. The toggle switch that controls the Voices has decent stiffness when clicked from one position and to the next. All knobs have exceptional quality pots (smooth and very solid when turned without any static or noise). The footswitch (on/off) produces a solid click when engaged or disengaged. The cable input/output and power supply all are located in the back, saving on pedalboard space and keeping any cable inserts away from a stomping foot. The 112+ does not run on batteries and requires a 9VDC power supply while requiring 40mA of power.

Bought this new back in the day, it was my first drive pedal and I’ve been using it up to this day. The od5 is part of Pearl’s short lived attempt into guitar pedals but it’s a very fine pedal nevertheless. Basically, Pearl’s take on the Tubescreamer, it provides a mild and warm overdrive that is pleasing and less midrange oriented as compared to Ibanez’s counterpart. The truly great thing about this piece of gear is that it has a parametric eq that is very effective. Over the years I used this in a variety of settings, but I’ve now settled on the 12 o’clock frequency setting totally dialed out (yes: OUT) and overdrive at zero. Might sound strange, but that way you get a great saturated clean tone that works great for country, rockabilly, indie and new wave stuff. Also works fine in association with other drive pedals: I’m using a Proco Rat, Boss Combo Drive, Dano Daddy O and TC Electronic Rusty Fuzz. My amps are a Blackstar 5 watttube amp, an Ibanez tsa5 and a Hughes & Kettner Edition silver solid state amp. In my setup, this pedal is always on, I’d be rather unhappy without it. This pedal wouldn’t work for metal tones or very extreme distortion sounds, but for somewhat more subtle and warm tones, it’s perfect. I have yet to find a modern pedal that has the same specs, and I have tried.

SOUND: https://www.youtube.com/watch?v=cB28PwtSFzw&feature=youtu.be I like my tone’s low end to be punchy and chunky (for rhythm) and with enough energy to sustain quality singing leads. Friedman’s BE-OD Deluxe not only delivers effectively, but is one of the most impressive pedals I have reviewed. This is a step up from the BE-OD, in that it offers two channels to vary how light or heavy you want your rhythms, or if you want to devote individual rhythm and lead channels with your gear. Although this may be consider a high-gain pedal, and it certainly is, you are able to adjust the amount of Gain internally (via knobs that can increase or decrease gain – they are set in the middle at 12-noon). As well, the BE-OD Deluxe cleans up very well, and so turning your guitar’s volume down gives you more of a classic rock result (with that signature Friedman sound and edge, of course) when you don’t want to push the envelope too much. There is an individual Volume, Gain, Presence, EQ and Tight controls with each Channel. Some of this is straight forward, but what is very nice is that the entire EQ spectrum is usable – nothing sounds too extreme in the lows, mids or highs as you tweak the dials. The Presence adds an exceptional high-end sparkling quality and is more noticeable than I’ve heard with many other amps and pedals – it really makes the pedal come alive when turned up only one-third way. The Tight control pulls in the bottom end, which helps to either make the tone a bit less massive (for a thinner sound, if you will), but also is useful for those big and powerful chugging chords on 7 & 8 string guitars. The pedal also comes with an 18V power cable converter – the BE-OD has more headroom with 18V, but the power supply I use did not ‘recognize’ that cable, and so I powered it with a 9V supply. It sounds awesome at 9V and so I can only imagine having that added dimension with 18V. OVERALL IMPRESSION: When it comes to producing quality equipment that has its own unique flavor and distortion/overdrive qualities, Dave Friedman is a legend. He was able to take that Friedman amplifier tone and put it into the BE-OD pedal, and now he’s doubling our pleasure with the Deluxe model housing two channels – each with a full line of controls. Although this may be considered a high-gain pedal, adjusting the internal Gain trim pots and dialing back on a guitar’s volume brings the Friedman BE-OD Deluxe into a lot more guitarists’ hands than one would initially expect. This pedal is so amp-like in its sound and produces such great results that the reasonable price tag of $269 USD is a valid investment for those who want hard-hitting and dynamic tones for moderate rock to metal. Being able to tweak two different channels, like an actual amplifier, and makes a clean amp sound like a beast (if so desired) is one of the key points behind the BE-OD Deluxe that cannot be overlooked. Getting that Friedman sound and quality simply pushes this pedal into the next category of ‘must have.’ EASE OF USE: The Friedman BE-OD Deluxe operates very much like an amplifier. Most amps do have dual channels (some have a third to push the ‘hot’ channel to be hotter), and using this pedal follows the same criteria. Channel 1 is more subdued, although you can increase its gain via the internal trim pot (or even decrease it if you want more of a classic rock crunch sound with more passive leads). Channel 2 is meant for meatier rhythms or leads, which also can be tamed or made more ferocious via an internal trim pot. Obviously how you use the pedal (what tones you want from each channel) must be sculpted via the EQ knobs, which also take into account how much Presence is added (which affects the high-ends). Volume and Gain are basic considerations, as how loud you want each Channel in the mix and with each other need to be balanced. The Tight switch provides a lot of flexibility in the sound, as having the switch all the way down introduces the most Bass and dynamics (viz., roundness or fullness). The middle position gives some tightness and looseness concurrently, which I tend to like for leads and some general rhythm work. The top position provides the most tightness, which really helps to make Channel 2 shine when chugging out those massively distorted power chords. If you always wanted that huge and tight Metal sound in your rhythm, then look no further. I have the BE-OD Deluxe running into a fairly tame clean channel of a preamp (the Mooer Blueno 020) direct to my DAW and it sounds great… very hard-hitting, yet warm and natural sounding (not overly-processed or sterile). OTHER DETAILS: The BE-OD Deluxe is twice the size of a typical pedal, measuring 140 x 110 mm (about 5.5 x 4.3 inches), but does offer twice as much with its 2 Channel operation. It is lightweight, and so I suspect the chassis is made of aluminum. The paint is of good quality and is attractive with its gold graphics and lettering on black. The knobs are typical plastic, although solid in feel, and the various pots (volume, EQ and Gain) all feel very nice when turned – more solid and smooth than usual. The footswitches produce a very pronounced ‘click,’ and so you know when the pedal is bypassed or not and that the Channel has been changed (obviously the LEDs help in that regard). You may want to invest in some Barefoot Buttons if you play at home in your socks. All LEDs (for the Channels and the On-Off/Bypass) are countersunk to prevent damage, and the two footswitches are far enough removed from each other and the various knobs as well. The Tight switches feel solid when moving them among the three positions, and they are small enough that there’s less chance of catching them with a shoe and causing damage (although switching quickly on stage and during a song may prove a bit challenging). All inputs are located in the back, including the power source and the guitar input and output – a good place to keep them out of harm’s way. http://friedmanamplification.com/friedman-pedals/be-od-deluxe-pedal

SOUND: Designed to provide that classic Marshall Plexi sound, the Ermynn II is demonstrated in accompanying YouTube video. The Ermynn II is not a high-gain pedal when played through a clean channel (with low or modest gain), but offers some very sweet overdriven sounds, from a bit of grit when turned low to a more searing and edgy tone when cranked full. When combined with a crunch channel or even a high-gain channel (obviously you don’t need much Gain from the Ermynn II in such an instance), the tone achieves the next level of dirt and energy quite nicely and helps to give some added balls to your amp. You not only hear this in the notes’ sustain and singing quality of leads, but also when playing some muted chugs that are far punchier in quality. The Tone knob is very sensitive, and in two ways. First, a slight tweak can produce too much or too little bass or treble response, which brings us to the second point: There is an enormous variation from all the way toward bass and all the way toward treble. This makes the Ermynn II very responsive to thin, weak and trebly pickups or dark and muddy pickups, thus allowing you to dial in with added precision. OVERALL IMPRESSION: The Ermynn II was developed in France by Doc Music Station; it is an easy to use pedal at a fair price of 179 Euro. It is a scaled down and smaller version from the original Ermynn. It sounds perfectly fine on a clean channel, particularly if you don’t want excessive gain or dirt, but really shines when added to a crunch or high-gain amp (in doing so, you don’t need as much gain or drive from the amp, while keeping the pedal’s gain less than half-way). It has an unmistakably cool paint-job with solid construction in all its parts, from the chassis and knobs to its guts. The drive or distortion is governed by JFET transistors (located between the input and output of the sound) and is very sensitive with both the Gain and the Tone, thus making it appropriate for music requiring just a hint of dirt (e.g., jazz or blues) to classic and modern rock (particularly when combined with a dirty amp channel). The JFET transistors help reproduce that Plexi tube sound to create a natural saturation and organic sounding tone, but while remaining very quiet (even when turned up full). EASE OF USE: How much Gain needed from the Ermynn II varies considerably, and depending on how clean, crunchy or high-gain your amp’s channel. With a clean channel I like the pedal’s Gain up full or darn close, as doing so produces an edgier tone (too much for most jazz or blues and more appropriate around 10-o’clock for those genres). Once I add the Ermynn II to some dirt, setting the Gain at about 10-o’clock seems sufficient, although that depends on how much dirt you’re getting from the amp (if it’s very dirty, then simply having the Ermynn II on with Gain almost off completely produces a nice fullness with added harmonics to the sound). The Level works in conjunction with the Gain, in that the lower the Gain, the higher the Level needs to be, which should be common sense. However, once the Gain reaches about 1-o’clock I found there no need to further tweak the Level… you can keep increasing the Gain and the overall volume does not increase that much. The Tone knob does add some volume, as you progress from full counter-clockwise to clockwise (from maximum bass to treble); and so, there is a bit of tweaking of the Level knob depending on the degree of bass or treble added and to balance out the overall volume. The Tone knob is very sensitive – slight movement of the Tone knob can produce a bit too much bass or treble, and so you need to know your setting well for proper dialing in when gigging. RELIABILITY & DURABILITY: The Hammond 1590B aluminum case is not only lightweight, weighing 230g (8oz), but it provides shielding of the electronic card. Measuring in at 113 x 67 mm (about 4.25 x 2.25 inches), the plastic knobs feel of good quality, and when turned the pots feel both solid and smooth in quality. The audio components comprise of carbon resistors, Wima silver mica capacitors, and the Ermynn II is protected against over-voltage and reverse polarity. The cable input/output both are located on the sides, as well as the power supply insert (standard 9v 2.1 mm), and so there is minor concern with stomping and hitting any of the inputs/output. This true bypass pedal also has Neutrik jacks and Alpha 16mm faders for the Gain, Volume and Tone pots. The footswitch is somewhat close to the Tone knob, but that knob is of a good quality, and so any slight stomping pressure on the Tone knob should not pose any concern. The LED on/off light is small and well protected by the three knobs. https://docmusicstation.fr/en/overdrive/27-ermynn-2-3172668150339.html

SOUND: The Touch Overdrive delivers the goods, from Blues to Classic Rock, in a super small footprint and a highly affordable price, as demonstrated in the YouTube video below: You will notice that two things are obvious in the sound while tweaking the knobs. First, the Grain (drive) is so subtle when on low that you can hear it being used to add a hint of dirt to a clean signal, to be used for some Blues or Funk and without being too ostentatious. As you approach 11-o’clock the Touch begins to take on a different character and you can hear a more modern tone emerge. Once you get to 12-noon it is obvious that you are in hard rock territory. And when turned up full the notes remain clearly defined and without being too saturated or muddy. The Tone knob adds just enough highs or lows that you can find use for the entire band width. When using bright or very clear pickups you can turn it all the way toward the low end and it still sounds clear and pretty good. It may sound a touch jangly all the way on the highs, but that’s where those dark pickups would perform well. The Touch Overdrive sounds good on its own and has very nice warmth and clarity when cranked, but it picks up on attitude when combined with the Squeegee Compressor and/or the Steampunk Boost. Those added tones are demonstrated in the demo video as well. OVERALL IMPRESSION: The Touch Overdrive, developed by J. Rockett Pedals, is one of a limited edition four pedals, part of the JET collection. Also available is the Squeegee Compressor, the Steampunk Boost/Buffer and the Immortal Echo. Half the size of a regular pedal, the Touch Overdrive comes in at only $99 USD (as do the other three in the collection), and when combined with the other three in the collection you have a pretty nice mini-pedal board at a super price. I really appreciate the size of the Touch Overdrive, allowing you to squeeze in just one more thing on a pedal board; but it’s the quality of the sound that is very spot-on… it has a warm grainy tone ideal for leads or when grinding out a cool riff – and the harmonics and note definition really pop as you turn up the Grain. If the power input were located in the back the Touch Overdrive would be just about perfect, as it would allow an even tighter pedal board layout. EASE OF USE: The Touch Overdrive, as well as all the JET series pedals, is easy to use. It has a Volume, Grain (drive) and Tone knob. The Volume is easy enough to set, and I found starting at 12-noon gives you a good starting point… from there you can adjust relative to your other gear and any clipping that may occur. The Tone knob pretty much works throughout the entire range, insofar as any position sounds good. Too much ‘highs’ may be a bit too much for the bridge pickup (although I tested this on a guitar with very clear and somewhat bright pickups), and although there’s a sweet spot for any guitar and amp, I found between 9-o’clock and 2-o’clock sounded pretty decent and I found it difficult to decide which tone I preferred more. The Grain is perfect if you want to add some dirt to a clean signal, but it also helps to push a high-gain or distorted signal even better (similar to how a tube screamer on low gives that added boost to an already dirty signal). When playing some crunch rhythm the sweet spot is around 11- and 1-o’clock, whereas rock leads shine nicely around 12-noon or higher (depending on how much sustain and saturation you want). RELIABILITY & DURABILITY: The all-steel chassis of the Touch Overdrive feels rather hefty in the hand, and measuring in at only 1.75 x 3.5 inches (4.44 x 8.89 cm). Due to its small size, a big foot may touch down on the plastic knobs occasionally, although the knobs are of good quality. Likewise, the feel of the pots when turning the knobs are very solid and smooth. The input/output for cables are located in the back, whereas the power supply (standard 9v 2.1 mm) insert is on the side. Even with the power insert located on the side, you still can fit the pedals rather tightly together (particularly with EBS flat head patches), which helps to keep the power input snug and in place, and out of harm’s way.

SOUND: The YouTube video below demonstrates the capabilities of the Rockaway Archer, by Rockett Pedals, a transparent boost with an organic-sounding gain/drive and an EQ to help sculpt an ideal tone: The Rockaway Archer was designed to drive your amp harder (meant to be last in your pedal chain and after all your drive/fuzz pedals), so that you can develop your tone further (via the EQ and Gain), to increase gain going into your amp and to boost the signal if warranted (and the pedal is very quiet considering how much boosting you can do). Even with the EQ flat and the Gain all the way down you can hear added harmonics and tonal definition previously not coming from your amp or pre-amp. The Gain can be very subtle, and you barely hear any added drive when turned up quarter way. Once the Gain is up half-way there is a distinct dirty addition in the mix, and as you turn up the Gain toward full capacity you notice how warm and it sounds with some delicious nastiness – absolutely no brittle harshness. You use the Volume knob as a Boost (upward of 18 dB cut or boost at six different EQ frequencies), although you can keep the Volume at parity with your amp and other equipment. What is most obvious is how clear the Boost is, whereas any tonal changes take place with the Gain and the six-band EQ, which provides a nice range of options without sounding exaggerated and harsh to the ears, e.g., pushing the bass or mids do not sound muddy and pushing the treble does not sound abrasive or sharp. OVERALL IMPRESSION: There are so many pedal manufacturers and pedals on the market that it’s always pleasant to be impressed, and Rockett Pedal’s true bypass Rockaway Archer definitely adheres to that sentiment. When you have a tone you like and then have the harmonics and note definition improve (with the tone standing out further in the mix), then it’s all good. This is true of clean, crunch or high-gain, as the Rockaway Archer does such a great job working in any environment. A signature pedal of Steve Stevens, a well-respected guitarist, his collaboration with Rockett Pedals makes the $249 price tag very reasonable once you integrate the Rockaway Archer on your pedal board. Amazingly what sounded good suddenly sounds a bit flat or ordinary when you remove the pedal, making the Rockaway Archer a definite keeper. The Gain is amazingly usable, whether left low or cranked high, and the EQ is one of the best I’ve used as the ranges for each frequency seem appropriate, whether turned high or low. In other words, you do not get an excessively low, mid or high response as you experiment with each frequency slider – but a potentially usable tone throughout the EQ’s entire spectrum. Other EQs I’ve tested worked well, as intended, but they also seemed to exaggerate too much lows (a strong ‘boom’ result) or produced shrill highs – in other words, the Rockaway Archer’s EQ fits exceptionally well within a guitar’s ideal frequency range. EASE OF USE: The easiest part on this pedal to use is the Volume, although adjustments will be required depending on where you set the Gain and the EQ (and whether each frequency is flat, a cut or a boost). The Volume can be used at parity, so that any tonal changes you create with the Gain and EQ are at the same level as your output without the Rockaway Archer, or you can set it so that you can boost your signal during lead solos or ‘heavier’ rhythm parts. You will add some volume and high end to the signal with the Gain, and so you may need to adjust the Volume and EQ depending on what tone you’re chasing. The Gain increases in output and dirt relatively slowly and is not exaggerated, since it is used to add to or enhance what already is going on with your pedal board and amp – simply a very warm and organic sounding distortion. Even when playing ‘clean,’ you can up the Gain quarter way and it does not distort the signal, but seems to add to the fullness of the tone. As you approach half-way on the Gain you definitely hear added distortion, although not excessive. When working with high-gain amps, the Gain on the Rockaway Archer may be off completely, up slightly and likely not more than half-way. Cleaner amps will benefit from full Gain on the Rockaway Archer, particularly if you want to push a crunch tone or to shift from clean to crunch. As you move the frequency sliders you will notice that the EQ is exceptional and everything seems to respond rather well, although in different ways. As stated previously, the EQ is highly usable as no matter where you place the lows, mids or highs it all seems to work well within a guitar’s overall frequency. The six-band EQ comprises the following, starting from lows (far left on the pedal) and moving to the highs (far right): Band 1 – 100 Hz Far Left Band 2 – 200 Hz Band 3 – 400 Hz Band 4 – 800 Hz Band 5 – 1.6K Band 6 – 3.2K Far Right What you get is upward of 18 dB of cut and boost per frequency, which is why you may need to adjust both Volume and Gain depending on your EQ setup. Consequently, this is not an easy pedal to use, nor is it difficult. It will take 10-minutes to get the hang of it and dial in an awesome tone. RELIABILITY & DURABILITY: It is obvious that Rockett Pedals did not skimp on the construction of the Rockaway Archer. Its steel frame is incredibly hefty in weight and feel. The two knobs for Volume and Gain are steel as well, and feel very smooth and high-quality when turning. The EQ sliders have LEDs, which does increase any potential for damage, and so don’t stomp down like the giant chasing after Jack down the bean stock. The footswitch has a very solid ‘click,’ and you can tell its construction is of a high-quality. Further to the footswitch, this pedal has a ‘Speedswitch’ installed, which means when you remove the cover you can pop out one switch mechanism and plug in a new one… no re-wiring required… which is a nice touch that indicates one less thing (soldering of the switch) to go wrong. All cable inputs (power, TS in/out) are located in the back, which saves on pedal board space and potential strain from a stomping foot. It operates on a standard 9V DC 2.1mm tip jack power supply, drawing only 30mA

SOUND: If you’re looking for an incredibly raw and authentic tone and have a liking for screamers, the Bonsai may be the answer. Below is a YouTube video that demonstrates the various tones: Although I am presenting my views on JHS Pedal’s Bonsai 9-way Screamer, I am doing so without comparing each mode side-by-side with the actual screamer in question. Nonetheless, the Bonsai works so well and as the original modes intended – by adding dirt to a clean channel or driving a ‘gain’ channel with some added pizzazz and varying qualities – that it deserves two-thumbs up and makes it obvious why the first batch of 1000 units sold out in no time. I will share the following, which comes from JHS Pedal’s website: “One of the most challenging parts of this project was accounting for component drift as many of these pedals were decades old and the internal components had strayed from their original values. Each pedal was individually replicated using our Audio Precision analyzer and various other methods that allowed us to perfectly replicate every aspect of the sound and feel of the unit. It's important to know that the Bonsai is not a ‘box of mods,’ it is exact replications of these nine units all housed in one box! The Bonsai is exact replication, not emulation. When you choose a mode on the Bonsai rotary, you are actually activating components specific to each mode and playing the unit that Josh chose along with all the quirks, drift, vintage mojo, and individuality that a vintage pedal has.” If we consider the tonal qualities of each mode, they are as follows: • OD1 has a brighter and moderate gain; • TS808 has less gain and more mid-range; • TS9 is similar to the TS808, but with more low-mids; • MSL is higher gain with thicker low ends; • TS10 is an upgrade from the TS9 with a crisper tone and more low-end roll off and low-gain; • Exar OD-1 has a unique transparent drive character with a little more gain than the classic screamers; • TS-7 produces the highest gain on the Bonsai, with more low-end and ‘dirt’; • Keeley Mod Plus has a tighter sound with a smoother mid-range, high frequencies and an increased bass response; and • JHS Strong Mod is clean and powerful (incredible as a boost) with pronounced higher- and lower-end drop offs. OVERALL IMPRESSION: The Bonsai is a moderately priced pedal at $229 USD (not high-end, but not inexpensive), but what you get is incredible considering it can replace 8 different tube screamers and while offering a 9th version (the JHS version) to boot. Think about that for a moment, since all the top screamers on the market offer unique characteristics, and some work better with different amps (or drive/distortion pedals) than others. Having access to all of them in one pedal is a pedal-board dream come true, and JHS Pedals definitely hit a home run with this strikingly green and organically sounding piece of technology. There’s a reason why we like a delay or reverb pedal with various options (so that we don’t have to have more than one delay or reverb pedal on our board), and certainly the Bonsai fits that criteria by placing all the classics at your fingertips and in a standard-sized pedal. All the controls needed are there, including Volume, Drive and Tone – simple to use and to dial in a great sound with any amp or pedal combination. EASE OF USE: Screamers have come to be known as one of those essential pedals to add dirt to a signal (the Tube Screamer being one of the best selling pedals of all time), but also to boost and add quality to a guitar’s tone, whether working through clean/crunch amps or with gain-type pedals. This cannot be said about typical distortion/gain pedals, as sometimes they can make a high-gain amp sound messy. With a screamer, on the other hand, you can keep the Drive very low in the mix and yet it makes a distorted or high-gain signal come to life with added energy (as though you modded the original equipment). I was even surprised as to how the Bonsai improved the tonal and singing qualities of my drive pedals, including some high-end boutique pedals. Now, what is interesting about screamers is that some work better than others when it comes to different amps and pedal combinations. A Fender amp may respond better to one type of screamer, whereas a Marshall sounds better with a different type of screamer. Not that the same screamer cannot have a positive influence on different equipment, but that some work better than others relative to one’s taste. Consequently, because each mode on the Bonsai has very unique characteristics, as per the original screamer in question, you definitely will hear very different outcomes with each mode and relative to the gear you’re using. I demonstrated this on the video as I used the same equipment throughout, and yet the tonal qualities varied from one screamer mode to the next. And so, not only is there a lot of fun exploring the various combinations, but you can achieve a host of unique tones while using the same amp and pedals. RELIABILITY & DURABILITY: The Bonsai consists of a good heft of steel with a solid ‘monster green’ paint job. The knobs are heavy plastic and far removed from the solid click of the foot switch. The LED is next to the foot switch, but no worries there. The power input (the most delicate of the bunch) is located in the back and away from wandering feet, whereas the Input and Output are located along the sides. The electronics are of high quality, since this is JHS from the USA we’re talking about… I won’t even question that part of the build. Consequently, I suspect the Bonsai will last for many years to come. Power, by the way, is via a standard 9V supply while consuming less than 100 mA. I asky you, what’s not to love about this pedal?

There are hundreds of Boutique pedals and many promise more than they deliver (Klon comes to mind as an example) I was put on to this pedal by accident and just happened to find one on ebay. I didn't know what to expect, but what I got was EXACTLY what I needed. I was ready to let the Cornford go in favour of a Tweed Deluxe or 57 Twin as wanted a more articulated character with my breakup. However, now I have that quality, AND also an amp that is renowned for delivering great British Blues and heavy Rock tones to boot. So, the DS-10 saved its bacon! Oh, and all this lovliness now comes in at bedroom levels no less! Sound Quality: This is a remarkable pedal inasmuch as it boosts your guitar signal in specific ways to interact with your amp. It is quite bright so you do not lose any definition in your tone and is so sensitive, that you get marked changes of effect with the slightest of dial selection. Also how you mix the 3 controls gives wide, but subtle and highly usable tonal options. For instance: With a Valve amp it will not only drive your power amp section, but 'clean' it also; all mid and mud is removed at the click of a switch. I run this in conjunction with a Cornford Roadhouse which offers hi-gain Marshall-esque, British rock tones aplenty. However with my Gibson 335, on its own the Cornford is very muddy (still nice sound but not always suitable). With the DS-10, engaged, and a few tweaks of the EQ's and I have a remarkable punchy, Bluesy and easy to break up 'ripping' tone that I can control by pick dynamic alone. Makes my 335 come alive and adds fantastic articulation. However, biggest shock was when plugged in the Tele and Stratocasters and after a minimal re-EQ-ing, I suddenly had a Fender Delexe Reverb tone on edge of breakup, but at room levels. All the dynamics are there - maybe not the full tuneful quality of a vintage Fender DR, but how many hand-made (non Chinese!) amps give you distinct Marshall and Fender out the box at a sub £$1000 price point?? So, this pedal makes me and my Cornford very happy! But it also works its magic on classic Tweed amps too, where the on-board options are few and far between. With a traditional 5e3 Tweed Deluxe, where boominess and massive power valve distortion is the name of the game, then this pedal clarifies things down. So, for example, I can full out Neil Young Tweed Deluxe drive with a LP and then engage the PROEL to be instantly transformed into a Celestion Blue equipped Kinks 60s rage-toned Vox or other British vintage small combo amp - best of both worlds! Clip here shows some of this ability with a meager germanium transistored Teisco amp - here how it cleans and focuses that bluster! https://www.youtube.com/watch?v=VZGlonmYizE and clarity with a Digitech X pedal into a tweed... https://www.youtube.com/watch?v=M533eto-5O8 Reliability/Durability: I bought this off ebay used for 25 euro from an Italian user (I am UK). Is clean and fully functional and heavy (!) and probably already 3/4 years old, so expect years of use. Ease of Use: Robust Metal casing that is hinged at top to allow access to Battery (like lifting a car hood!). 9V battery or DC. Level, Tone, Distortion controls, sturdy footswitch. Proel is an Italian company and unit is made in Italy. The DS-10 whas superseded by the DS-20 but DS-10 is better suited to the low gain, non fuzz, 'Boutique' style (non Metal) Distortion. Sadly, neither are no longer in production, so only a few lucky owners will ever get to realise the enormous potential and versatility of this NOT Distortion pedal, but MAGIC pedal! I also use it with my Boutique 'Keeley' Upgraded BOSS ME5 https://boss-pedals.jimdo.com