I get lots of press releases, but there are some that compel me to share. This is one of them:
Pigtronix announces release of the Class A Boost – Elegance In Tone
Pigtronix Class A Boost is the final word in high performance guitar preamps. This pedal’s elegant exterior and single knob layout cloth an ingenious “Class A” J-FET design that will fatten up the sound of any instrument or sound source.
Featuring discreet transistor topology (no opamps) this device can boost passive or active pickups and even line level signals up to 20db without ever clipping. Perfectly flat frequency response from 20Hz to 20kHz ensures that your instrument’s tone and expressive character remain intact as signal power is increased.
The Class A Boost’s noise free performance allows you to put the effect anywhere in your pedal chain. It adds punch and extra output when placed after a classic overdrive or will happily push your gain pedals into new levels of saturation. The Class A Boost is also ideal for hitting the front end of a tube amp to achieve an added layer of sweetness and fat tone without unwanted clipping or noise.
The Class A Boost runs fine on a standard 9-volt supply, but ships with a Pigtronix 18-volt adapter in order to achieve superior headroom and maximum punch. Make your sound 1 louder with this handsomely dressed, J-FET masterpiece from Pigtronix.
“Pigtronix Class A Boost is crucial to my sound because it makes my guitar tone clearer and louder, without adding distortion.” – Eric Krasno (Soulive)
Pigtronix Class A Boost carries a list price of $149 and is available now at Pigtronix dealers everywhere. Check out the Class A Boost and the whole line of 2011 Pigtronix effects at http://www.pigtronix.com.
I’m a big proponent of boost pedals, especially when used to slam the front end of a tube amp to push it into full-on overdrive. What’s attractive about this particular pedal is that it is Class A – at least from an audiophile’s perspective – which means that it will not clip throughout its operating range. Don’t confuse this with the definition of Class A for an amplifier. They’re two different things. Here’s a great explanation of Class A operation with respect to amps.
In any case, this could be a VERY cool pedal to have…
I’ve never been much of a distortion box kind of guy; at least until recently when I got my EWS Little Brute Drive. I didn’t think I’d be using it all that much, but I have to admit, it is quickly becoming an indispensable addition to my pedal board. It’s as transparent as my Timmy, which is a HUGE plus in its favor, but the gain and distortion goes way beyond what the Timmy can do. But at the same time, it behaves insanely well with the Timmy. For instance, at my church gig yesterday, I was playing a song and had the Timmy engaged to give me some mild overdrive. There was a lead break in the middle of the song where I had to do a short 8-bar solo. But instead of switching the Timmy off, I just activated the LBD. OMG!!! I was immediately rewarded with tons of sustain, and singing, sweet distortion that was not at all over the top (I had the single gain knob set at about 11 am)
Amazing that all this comes from this little pedal that’s about 1 1/2 times longer than a 9 volt battery!
One thing though is that both the Timmy and the LBD are making me rethink how I approach my overdrive tone. Since getting them, I haven’t been cranking my amps near as much as I used to. I still love that saturated power tube sound, but tend to put my amps on just below the edge of breakup, then use my Timmy, the LBD, or a boost to push it over the edge. Mind you, I still have the Master volume up there. It’s just full out like it used to be.
I guess my love affair with overdrive pedals hasn’t waned one bit – even with getting my Timmy. Don’t get me wrong, my Timmy will NEVER leave my board, but this totally cool, ultra-compact “Little Brute Drive” from EWS Japan is nothing short of amazing to me. Lots of overdrive/distortion on tap, right out of the box! And look at the bottom of the picture to the left: It ain’t much bigger than a freakin’ 9V battery! Amazing!
The way I envision using this particular pedal is for when I need heavier distortion than my Timmy, which is a light- to medium-gain device. The Little Brute has a much wider range of distortion; from fairly light to searing. And like the Timmy, the distortion is fairly open and uncompressed from what I could tell from clips. But even more important is that like the Timmy, it’s fairly transparent. I couldn’t detect much tone alteration from the clips I heard. So awesome!
You can fine-tune the output level and tone from inside the box – see the two blue adjustment screws in the picture? But from what I could tell, the factory settings are perfect.
How can anyone complain about a great-sounding boutique pedal at mainstream prices? Taking its design cues from industry-veteran Gary Hoey who wanted to ensure a great-sounding, built-for-the-road but affordable pedal, HBE has created just that. This is a simple, road-worthy standalone overdrive that costs just $99. Nice!
Not much media on this pedal yet since it’s so new, and I’ve only seen one video of this so far, which was okay, but the demonstrator only used a single guitar, and only made a few adjustments; frankly, to me not enough to give a good representation of the pedal’s capabilities. But based upon what I heard in that video, this pedal is more standalone distortion than overdrive, but really a better test will determine that.
One of my biggest problems with Strats in the past is that while I loved their tone, the stock pickups never really satisfied me; being a bit too bright and not powerful enough. Plus, the Strat is not a guitar that sustains very well. With my new Strat, I’ve solved the brightness problem, and most of the power problem with the Kinman pickups that came with the guitar. But the sustain issue still exists. Mind you, this particular guitar has some very nice inherent sustain and resonance; still not as much as a Les Paul, but more than what I’ve experienced with other Strats in the past.
Among those in the know, a Strat really needs help in the sustain area, which is why overdrive pedals will never go away. They provide extra gain yes, but more importantly, they provide sustain. For me, as the title states, the Timmy overdrive has completely changed the game for me. Being a transparent overdrive, it retains my tone then gives me more of it, as well as giving me some extra sustain. Oy vay!!! I love this pedal! The note definition and separation is incredible with the Timmy. There’s nothing washed out at all.
There’s a song I recorded a couple of years back called “In the Vibe.” I liked the tune itself, but I was never happy with the guitar tone. I was using my old MIM Strat with a Tube Screamer, plus a cranked up Reason SM25. I just felt that the guitar didn’t have enough bite, and no amount of EQ was going to get me that. I even re-recorded the song using my Les Pauls, but the song was made for a Strat. So I just let it sit in limbo.
But last night, I thought I’d revisit the song and use the Timmy with my Strat, and I WAS BLOWN AWAY!!! The guitar parts have the bite I want, and the Timmy just adds tons of balls to my tone. Here’s what I recorded last night:
The first guitar part is played in the neck pickup. I love that pickup on this guitar as it has the real vowelly-like tone. The second part is in the bridge pickup that has a lovely drive and a Les Paul-like honk to it. Yummy! For that song, I set the pedal with volume at about 11 am, gain at 1pm, bass at noon, and roll off just some of the highs with the treble at 9am. My Aracom VRX22 was set with both Master and Volume at 1pm, which is on the edge of breakup for the guitar cranked up. I gotta tell you: The Timmy is absolutely marvelous!
What about the Dano TOD?
There has been lots of discussion about the Dano Transparent Overdrive being a ripoff of the Timmy circuit. From demos that I’ve heard, it’s close, but to me, the Dano doesn’t have near the amount of clarity that the Timmy does. Conceivably, you could get it close, and in a performance situation it may not matter. But in a studio situation, where you want as much clarity as possible, I don’t think I’d ever use a Dano. Yeah, I paid three times as much for the Timmy and waited for 6 months. But at $129 it is so well-worth the wait, and at that price it’s near the cost of a BOSS pedal.
So in my mind, the Timmy wins hands down, and as I’ve mentioned in the past, it will never leave my board.
Summary: Others boast transparency, but the Paul Cochrane Timmy overdrive is one of the very few transparent overdrives I’ve ever used, and to me it is the best OD I’ve ever owned!
Pros: Super-simple to dial in a great tone for the guitar you’re using. Bass and Treble cut knobs make all the difference in the world with respect to dialing in your tone!
Separate Bass (pre-distortion) and Treble (post-distortion) cut dials
Gain knob to control amount of clipping
Volume/Boost to control output gain
Three-way clipping switch to choose between two types of symmetrical clipping (up, middle) and asymmetrical clipping (down)
Price: $129 direct (twice as much on ebay if you don’t want to wait 6 months)
Tone Bone Score: 5.0 ~ I’ve only played with this for a little over an hour this evening, and already I’m in love with this OD pedal! You know me, I love OD pedals, but this one was well worth the wait. I can confidently say that this will NEVER leave my board.
Like many, I had heard of the Tim and Timmy pedals from Paul Cochrane, but I had never played one. I had only heard accounts online, then heard one in action at a concert. After speaking with the guitarist (Dylan Brock of Luce), and hearing him rave about the pedal, I finally got around to ordering one from Paul Cochrane back in October 2010. I finally got the pedal today, and it is hands-down the best damn overdrive pedal I’ve ever played in my life – and I’ve played a lot of them.
I now have only two overdrive pedals on my board: My trusty Tone Freak Effects Abunai 2, and now, my Timmy pedal. They will never leave my board. The Abunai 2 is much more of a distortion pedal than an overdrive and I love the color and compression it adds to my signal. The Timmy, on the other hand, is truly transparent. It takes your tone and give you more of it. And while other pedals will give you a midrange hump or scoop your tone, the Timmy lets you dial in (actually cut out) the amount of bass or treble you want in your signal.
Volume and Gain are pretty standard, so no need to go into those features. What makes this pedal special are the EQ knobs. Both are cut knobs. Fully counter-clockwise, they let in all the bass or treble. As you turn the knobs clockwise, they cut out. It’s a little backwards, but it makes sense once you start messing with the pedals. Paul says he made these like that because of the taper of the pots and doing it in reverse avoided dead spots.
The bass knob functions pre-distortion or before the clipping circuit. Other pedals dial out bass at a fixed level to avoid the bass being too muddy. The Timmy allows you to dial in as much or as little bass as you want. The treble knob functions post-distortion. Again, other pedals have treble set at a fixed point after the circuit to avoid fuzziness. The Timmy lets you dial in as much or as little as you want. The net result is a finer level of EQ control than I’ve ever experienced with an OD pedal, and those two knobs make that pedal very special for me.
I thought I was done with Overdrive pedals…
I actually thought I was done with Overdrive pedals for the most part, and instead started relying on my clean boost and occasionally would fire up my Abunai 2 to add some color and compression to my tone. But that all changed when I got my latest Strat. Even though the Kinman pickups and the X-Bridge pickups have more gain than stock Strat pickups, even cranked, they don’t have enough gain to get my vintage Plexi-style amps into their sweet spot – even with the amp cranked. For instance, I had to use my clean boost and/or my Abunai 2 this past weekend to push my amp into its sweet spot.
The clean boost works great in giving me the gain I need, but it doesn’t give me much sustain. The Abunai 2 gives me sustain, but it colors my tone and adds compression (I like that only for certain situations). Enter the Timmy. With the Timmy, I can get the gain boost I need to push my amp into its sweet spot, and with its clipping circuit, I can get a bit of sustain – but without the compression, which is HUGE for me. Mind you, this is all for a Strat. It’s a completely different story with my Les Pauls, as they have plenty of gain on tap, and have LOTS more natural sustain than a Strat. With a Strat, you always need some help. It’s not a bad thing, it’s just it is what it is.
With the Timmy, I think I’m now all set for OD pedals for awhile. Notice I didn’t say I was done…
I know, I normally do some description of how it looks and how it’s built, but suffice it to say that the pedal’s built solidly, and the purple finish is cool. ‘Nuff said. It’s how it sounds that is important.
How it sounds…
As Paul explained to me six months ago, the Tim and Timmy were designed to be transparent overdrives; that is, they take your tone and give you more of it. Though the signal path does include a clipping circuit, unlike other OD pedals, the Tim/Timmy circuit doesn’t add any color. In any case, here are a couple of clips.
In both clips, I have my Aracom VRX22 set up in its drive channel with the master and and volume knobs set to about 1pm each. With a Les Paul, cranked up in its bridge pickup, this will give me a sweet overdrive tone with lots of harmonics. With a Strat, these gain positions set it at the edge of breakup, and I have to really dig in to get distortion out of the amp.
The first clip is just a raw recording switching between just the Strat cranked up in its bridge position, then playing the same thing with the Timmy engaged. I did add a bit of extra volume to the Timmy so I could make sure that the amp got pushed into its sweet spot. Give it a listen:
The next clip is a re-recording of the song that I used for my Strat review. This time, I play the first part with the raw Strat, then in the second part add the Timmy to finish the song:
In my mind, there’s nothing not to like about the Timmy. When Dylan Brock said to me, “Man, I just love my Timmy pedal,” I really couldn’t understand what he was talking about at the time. I now understand, and I mentioned above, the Timmy will never leave my board.
Awhile back, I mentioned that one of the next pedals I was going to get besides my Timmy was an envelope filter. I was really digging the Electro-Harmonix pedals, but then got contacted by Jeff at Source Audio who was saying that they were working on a new guitar envelope filter, following the bass envelope filter they recently released.
If you’re not familiar with Source Audio, they build the SoundBlox line of pedals. What makes these pedals different is that they can be manipulated on the fly with a motion sensor ring called the HotHand Motion Controller ring. I’ve always been intrigued by these pedals, but haven’t had the chance to try any out. Until now. I hopefully will be getting a couple of their pedals for review soon, and I have to tell you, I’m excited!
The envelope filter has a TON of cool sounds, so you can get all sorts of vowel tones out of it. With the motion controller ring, you can even get variable wah sounds! THIS IS COOL STUFF!
In any case, here’s the demo video they just released of the new guitar envelope filter:
You gotta dig the folks over at EHX. They take classic designs then put their own unique twist on them. I’ve been considering getting one of their envelope filter pedals for awhile, but then they recently released a harmonizer pedal called the Voice Box that is very intriguing. I myself have been using DigiTech’s Vocalist Live 4 for a few years, and it has served and continues to serve me well. But after a few years of gigging, things are starting to wear down, and some buttons are just plain broken.
As such, I’ve been looking at either getting a new VL4 or going with a completely different unit altogether. The TC Helicon VoiceLive Touch seems pretty cool, but this new entry by EHX warrants a deep investigation; especially as it is priced at under $220 street, where the VL4 and VoiceLive Touch run about $500.
Granted, the Voice Box doesn’t have many tweaking features, and it doesn’t have nearly the amount of presets as the VL4 or VoiceLive. However, from what I could gather from watching a couple of videos, the sound quality of the harmonies is great, and it includes a vocoder! Now THAT is cool!
For me as a solo gigging musician, a harmonizer has been an important part of my rig. And after years of use of my VL4, I have to admit that I only use four of the 100 presets of my VL4 – just four! So with the EHX’s nine presets, if I can get the harmonies that I use most often, then I may just have to get it. Besides, at around $220, it’s not going to run me broke. It also means that as a pedal, I can mount it on my pedal board, and not have a big unit that I have to run separately into my board. As I only use three effects on my board, there’ll be plenty of real estate to take this pedal!
I’ve gotten to the point in my playing where I’ve pretty much established my base tone, so I’m extremely sensitive about the pedals I add to my rig; especially modulation effects. To me, they should only enhance my tone, and not define it. I should still sound like me whether I have a particular modulation effect on or off. In other words, if the effect is off, I shouldn’t feel as if something is missing from my tone. There are, of course exceptions to this rule of thumb, like my Boss CE-2, where I actually want my tone altered, but in general, I want my modulation effects to simply “fit” with my tone.
Such is the case with TC Electronic Corona Chorus. It simply “fits” with my rig. I’ve been playing with it for the last hour or so, and the more I get to know it, the more I absolutely love it. And all this for $129? This is a winner. In any case, I’ve recorded a couple of clips to demonstrate the pedal. Mind you, all these were done in the standard chorus mode. I haven’t started playing with the TonePrint or TriChorus much yet.
The first clip has me playing clean fingerstyle with a short song. I do the song first without the pedal engaged, then play the song over with the pedal engaged, just adding some subtle chorus. The result is simply amazing:
In the next clip, I do sort of a funky rhythm with a syncopated bass line. Here I’ve turned the FX Level to past 2pm, the Depth to 2pm and Rate to noon. What I get is a real liquid tone:
In this final clip, I add a little more depth and FX Level, then get into the dirty channel of my Hot Rod Deluxe. The result is a flange-like swirling tone. The interaction with the distortion of the amp is totally cool – at least to me:
I took the Corona to my weekly solo acoustic gig last night to give it a gig test. From the moment I started playing it, I was in love with this pedal! I actually got to my gig a little early so I could play around with the settings and find a “standard” setting that I could use. My thought behind this was that the pedal would just stay on all the time, except for specific songs that I just want my raw guitar sound.
My standard setting was Speed at 11am, Depth between 12 and 1, FX Level at just past noon, and Tone right in the middle. This produced a super smooth, lush, liquid, and sensual tone that also added a three-dimensional quality. It was total ear candy!!! Not only that, I was using no other processing, doing straight into the restaurant’s board and relying on the high ceiling to get my reverb. The result was absolutely stupendous!
I used the “standard” setting for the songs I play fingerstyle, which is most of the time. For songs where I was strumming, I backed the depth to noon. It’s a very subtle change, but an important one, as any chorus can muddy up your tone when you’re doing fast strums. I do this with all my chorus pedals. But the interesting thing with the Corona is that when I wanted to do any kind of adjustment, I didn’t have to move the knobs nearly as much as I would with other pedals. With the Corona, all the controls are interlinked, so it only takes minute adjustments to affect the overall tone. This is totally cool!
I didn’t use the TonePrint or TriChorus modes at all last night. I just didn’t feel a need to use them. As I mentioned in my review of the pedal yesterday, if the Corona only had the standard chorus mode, I’d still buy it. It sounds that good! I could get super-subtle chorus tones to gorgeous, liquid tones ala Andy Summers with this mode. In fact, I played “Every Breath You Take” last night, and just loved the chorus sound that the Corona produced for that.
Finally, a question I asked myself last night was: With how much I love the Corona, will it possibly replace my beloved Boss CE-2? Probably not. Not because the CE-2 is a better chorus, but simply because it has a distinctive tone that no other chorus I’ve every played can cop. Besides, I also like the slight gain boost that the CE-2 gives me when engaged. For bluesy stuff, that gain boost actually comes in handy. But for general chorus duties, I’ve found my go-to chorus pedal. This thing absolutely RAWKS!!!