Category Archives: Effects

Pedals, rack processors, modeling processors…

Although the Tube Screamer is the king of overdrives, a few pedals that have come out in the past decade could have a claim to the throne.

I have decided to start this series of posts dedicated to Tube Screamer alternatives with the Xotic BB Preamp. Released around 2005, it has become quite popular and is used by guys like Andy Timmons and Greg Howe. And speaking of Andy Timmons, he even had a signature BB Preamp model made by Xotic.

Update Feb 2012: there is an interesting piece of info that came out following the release of the BB Preamp-comp by the Xotic custom shop. The standard BB Preamp was modified to have less compression after serial number 3643. My BB Preamp has a serial number of 526 so the video demos below show the “compressed” version. Interestingly enough, the limited Andy Timmons edition of the BB Preamp featured the extra compression of the early BB Preamp. In order to please everybody, The BB Preamp-comp features a toggle switch to go from no compression at all, to a bit compressed (current BB Preamp) and to more compressed (early BB Preamp and Andy Timmons models). You can read all the details here.

The BB Preamp, much like the Tube Screamer, is extremely good at two things:

Used with a clean amp, it will provide you with a very credible and articulated overdrive tone.
Used before an already overdriven amp or even a distortion pedal, it will give you more sustain and fatness.

But this is where the comparison stops. The BB Preamp is not a Tube Screamer clone. Some guitarists don’t like the Tube Screamer because they feel it sucks too much bass out of their tone and also that it is a bit tame. The BB Preamp addresses these issues and adds some welcomed improvements such as a massive volume boost capacity and a very effective two band EQ instead of the single tone control of the Tube Screamer. Also, the BB Preamp is built with excellent components and is quite silent. This also means it is a bit pricey (MSRP US$ 200) as this really is a boutique pedal, not a cheapo knock-off.

The result is an amazing overdrive pedal which can get quite wilder than a Tube Screamer. BB actually stands for “Blues Breaker”, an obvious reference to early Marshall amps. They were nicknamed “Blues Breaker” after they were used by Eric Clapton on the now uber famous “John Mayall and the Blues Breakers” album. And indeed, the BB Preamp is quite “Marshally”… in a good way.

I have a nice story about Xotic customer support. I bought my BB Preamp over the Internet about five years ago when it was just out (the serial number is in the 500 on my pedal). Last year, I lost two of the plastic knobs, the little screws that were holding them got loose. I wrote Xotic asking them if they could sell me some knobs. I received a reply a few hours later and it said : “just give me the serial number of your pedal and I will send you some knobs”. A few days later, I had fours knobs delivered to my home in Holland, free of charge. That’s what I call service…

Used with a clean amp

There are many ways to use the BB Preamp. Let’s start with how it sounds compared to a Tube Screamer against a clean Fender Champ tube amp. I start with a clean tone then switch on alternatively my Analogman modded TS-9 Tube Screamer and the BB Preamp.

And now with a Gibson SG 61 Reissue equipped with humbuckers:

For these two videos, the settings were:

Tube Screamer Settings: DRIVE at 3 o’clock, TONE at 10 o’clock and LEVEL at 1 o’clock.
BB Preamp settings: GAIN at 2 o’clock, VOLUME at 1 o’clock, TREBLE at 11 o’clock and BASS at 12 o’clock.

Used as a booster

And now used with a Proco RAT 2 as a booster with almost no gain and the volume at 2. This is a moderate amount of boost, you can go way further but be careful with the noise level. This is not a BB preamp problem per se, this pedal is actually quite silent but this is the bane of any heavy boosting and high levels of gain.

As you can hear, the sustain and fatness increase but the basic tone stays the same. It also works well against clean amps. With a strat and a bit of boost from the BB Preamp, it really “sparkles”.

For this video, I had plugged the BB Preamp before the Proco RAT 2 and had the following settings:

BB Preamp settings: GAIN at 8 o’clock, VOLUME at 2 o’clock, TREBLE at 11 o’clock and BASS at 1 o’clock.
Proco RAT 2 settings: DISTORTION at 10 o’clock, FILTER at 3 o’clock and VOLUME at 2 o’clock.

Remark: for all the videos of this post, the Fender Champ was miked by a Shure SM-57 and recorded by a BOSS Micro-BR. The recordings were then transferred into Cubase 5 to add some reverb and volume.

Effects, plugins

BBE Stompware

April 28, 2010 romain Leave a comment

BBE are known for their audio hardware and especially their “sonic maximizer” line of professional studio enhancers. But little is known that they also have a range of guitar pedals which they have just turned into plugins for your favorite recording software. The package is named “BBE Stompware” and provides the following recreations of BBE pedals:

Free Fuzz (Vintage ’70s Fuzz)
Green Screamer (Vintage Overdrive)
Mind Bender (Dual-mode analog vibrato/chorus)
Opto Stomp (Vintage Optical Compressor)
Sonic Stomp (Sonic Maximizer)
Soul Vibe (Vintage Vibe/Rotary)
Tremor (Vintage Tremolo)
Two Timer (Analog Delay)

Three of the eight effects of the BBE Stompware package

You can use the demo for 15 days without restrictions, I gave it a spin and here is the result using the “Green Screamer”, the “Soul Vibe” and the “Two Timer” Analog delay:

I used my Stratocaster plugged directly into the audio interface. The “Free Fuzz” and the “Green Screamer” provide some sort of amp emulation making them sound as if they were plugged into an amp.

After my quick tryout, I can say that I am not too impressed with the overdrive and the fuzz but the other effects sound really good especially the “Soul Vibe” and the “Two Timer” analog delay. Who does not love the really lush modulation of a good univibe clone even if I still think my good old pedals sound better.

You can get the demo or a license for the package for a reasonable $149 from Nomad Factory. Note that you will have to authorize the demo. To do so, after installing the software, you must execute a program named “HardDisk Authorizer” which will give you a challenge. You will have to copy and paste the challenge on http://nomadfactory.com/register/demo_reg.html to receive the actual authorization code that you will have to paste on the bottom window of the “HardDisk Authorizer”.

Effect News

Maxon SM-9 Pro+ Super Metal and ST-9 Pro+ Super Tube

April 26, 2010 romain Leave a comment

In a previous post, I mentioned that Maxon was the company which made the Tube Screamer and other pedals for Ibanez in the 70s/80s. They are now producing pedals under their own brand and they have just released two new models which will bring memories of the past.

The SM-9 Pro+ Super Metal is not an exact reissue of the 80s Ibanez SM-9. I own an original one and it sports 5 knobs as opposed to the new one which has 4. Also, the 2010 version can be powered with a 9V power supply as well as 18V. In the latter case, it apparently increases “the headroom, frequency range, and dynamic response of the SM-9 pedal”. This new arrival in the Maxon line is clearly geared towards all metal genres, even the most modern, as the sound examples suggest. The old Ibanez SM-9 was also a metal pedal at the time but in an eighties way of course. It was interesting though as it did have some “tube screamer” DNA which does not seem to be the case with the new model.

Maxon SM-9 Pro + circa 2010 — The "new" SM-9

As to the ST-9 Pro +, ST stands for “Super Tube” to emphasize its Tube Screamer ancestry, not the fact that it is tube based because it is not. As with the SM-9, the ST-9 Pro+ is not an exact reissue of the 80s Ibanez model. Maxon claims it is based on the circuit of the good old TS808 Tube Screamer but with added flexibility and more gain options. On top of the usual LEVEL, DRIVE and TONE knobs there is a 4th knob to choose the frequency of the “mid range hump” as well as a switch to choose between a classic tone and a “low boost” tone which will fatten your sound. The ST-9 Pro+ can be powered with a 9V or 18V power supply, the latter mode increasing the “headroom, frequency range, and dynamic response of the” pedal. Listening to the the sound clips, I must say the ST-9 does seem to sound like a super charged Tube Screamer.

Maxon ST-9 Pro + — The ST-9 Pro+ Super Tube

Timeless Classics, Video Demos

Timeless classics: the Big Muff

April 20, 2010 romain 4 Comments

Question: what do David Gilmour (Pink Floyd), Billy Corgan (Smashing Pumpkins) and Jack White (the White Stripes, The Raconteurs) have in common?

Answer: they are all avid users of the Electro-Harmonix Big Muff pedal and a lot of their recordings would not have been the same without the raunchy, dirty, gritty, fat tone of “the muff”. I will demonstrate in two videos the tone of the Big Muff but first, let’s go briefly over the troubled history of this famous distortion pedal.

Short history

The Big Muff originated in the 70s. It is often called a “fuzz” but I rather think it is a distortion pedal as it is quite a departure from the fuzz pedals of the time. Two versions came out in the 70s: the “triangle” Big Muff (triangle because of the shape formed by the knobs) and the “Ram’s head” Big Muff (because there is a little picture of a ram on it).

The maker of the Big Muff, Electro-Harmonix, went bust in 1983. Mike Matthews, its founder, went on to build Big Muff pedals under the Sovtek brand starting in the early 90s (on a side note, Sovtek had a killer line of amps at the time). Electro-Harmonix were “rebooted” later on in the US and they are now very much alive. Their current range of pedals is huge. If you are looking for a brand new Big Muff, you will have to go for the current Big Muff Pi or maybe the little Big Muff which has a smaller casing: those are closest to the “muff tone”. A lot of other pedals currently made by Electro-Harmonix have “Muff” in their names, like the Metal Muff, but they sound quite different from “THE” Big Muff.

The connoisseurs think that the current range of Big Muff is quite inferior sounding to the 70s gear and even to the Sovtek Models. This explains why a number of clones exist like the Ron Sound Hairpie, clone of the US 70s stuff or the Absolutely Analog Green Russian, clone of the Sovtek models. As to the BYOC Beaver, it is a highly regarded kit for you to build your own 70s US Big Muff clone (good luck to get it outside of the US).

If you would like a much more detailed history of the muff, check out this post on Gilmourish. It also tells you which Big Muff version David Gilmour used on the different Pink Floyd albums and tours. You can also visit this awesome site for more details and schematics.

How to get that Big Muff Tone

First of all, let me tell you that the Big Muff is an animal that is difficult to tame. You might try it and think that it sounds really harsh. Know that you really have to use the right amp and will have to play quite loud: don’t think you will get a big smooth tone out of a Big Muff at low volume, especially if you use it on its own.

Used with Humbuckers, the tone goes into “big indie riffage” territory. For this video, I use only the Big Muff with my SG and my little 5W all tube Fender Champ miked with a Shure SM-57 (some reverb was added afterwards in Cubase). The settings on the muff were VOLUME at 10 o’clock, TONE at 10 o’clock and SUSTAIN at 11 o’clock.

The good thing about the Big Muff is that it plays quite well with other pedals. For instance, a compressor placed before will really smooth out the tone whereas an overdrive placed after can remove the relative harshness of the tone, especially at low volume. Use single coil pickups and add a delay to the mix and you might reach the lead tone nirvana, Gilmour style. Here is a video made with a Stratocaster showing the muff interacting with an overdrive or a compressor:

In case you are wondering, the Big Muff I use is a standard current US Big Muff Pi model, no fancy clone or vintage model. As to the Stratocaster, it is a Custom Shop American Classics Stratocaster with Kinman AVn Blues Pickups.

The Settings were as follows:

1974 Fender Silverface Champ (BASS on 10, Treble on 2.5, Volume on 3).
Big Muff settings: VOLUME at 10 o’clock, TONE at 10 o’clock and SUSTAIN at 11 o’clock
BB Preamp Settings: GAIN at 8 o’clock, VOLUME at 1 o’clock, TREBLE at 12 o’clock, BASS at 2 o’clock
Dynacomp settings: OUTPUT at 10 o’clock, SENSITIVITY at 10 o’clock.
DD-3 Settings: LEVEL at 10 o’clock, FEEDBACK at 12 o’clock, TIME at 2 o’clock and MODE at 800ms

References

An interview of Billy Corgan recalling his encounter with the Big Muff.

guitar TONE OVERLOAD