Red Rooster Booster

This is a very high headroom booster that differs from Baby Pink Booster so that there is lot more boost and it is meant to push the amps input into distortion. On higher setting the pedal will produce some natural distortion of its own to go with the boost.

RRB is designed to be used to drive the amp to distortion, use it with amp that is "on the edge" to turn it to distortion or with distorted amp to ad gain to your leads. The output range of RRB is set to complement that of the average tube-amp so as not give rise to harsh distortion from amp being overloaded or chopped of attack as the case may be. This booster/light overdrive goes well with amps that have complex distortion such as the Vox, Matchless, Budda ….

RRB can be used like the old type of overdrives with heavy output, using it with an amplifier distorting slightly and then boosting the amp for more distortion. You'll reach a point in the amplifiers distortion when normal distortion pedals /overdrives/fuzzes cannot follow because they choke the tone but the RRB has been designed so tha it gives excellent clarity. Best setting for this is 1 o'clock.

This pedal used as an overdrive gives essentially flat response and can even be used with bass. It will not boost treble but have some distortion that makes a shimmer that can be mistaken as treble boost but it is only distortion.

You can use it too with clean amp as a clean boost. RRB has a true bypass whereas BPB has a buffered output. RRB is also on phase with signal but BPB is out of phase as can used to correct the phase in old Fender amp channels.

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Pine Green Compressor

This is a compressor unit intended for use with electric or acoustic guitar, to limit attack, prolong sustain by increasing amplification factor as a plucked note decays, making signal more uniform.

Compression is powerful tool when recording and in live situations with acoustic guitar and steel guitar- properly set it can smooth out unintentional level changes for better audibility.

It has often been said that the best use of compressors is when you cannot hear them but miss them when they are turned off; with electric guitar it is often used as an effect, by setting compression high enough to hear the signal being limited and decay being amplified.

Though compressed the tone is still in the attack only now attack is accentuated by a characteristic" chop". With compression weak parts of signal will be amplified and so a compressed signal will appear to have slightly more treble to it.

It is therefore common in compression design to cut some treble thereby noise is also reduced. This technique is not used in the Pale Green design since the more filters you have in the chain the more phase distortion, and such filtering would be virtually impossible to make unhearable in all possible situations.

It was instead voted that there should be no filtering action except that needed to secure safety against radio interference and that the use of custom parts and design should ensure low noise with preserved treble.

These are the key features that are the basis of the Pale Green Compressor design:

1. Fast attack, slow release - the most used setting by guitarists ever. Response has been optimized for the parts used.

2. Wide range of compression: from light transient limiting to massive compression at almost endless sustain.

3. No treble loss, thus pedal can be used at various places in chain (Keep compression at lowest possible to achieve desired sound, to ensure lowest noise).

4. Low distortion and good overload characteristics.

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The Little Red Trebler

The LITTLE RED TREBLER is not your average treble booster. It sports adjustable and switchable boosts ranging from unity to approximately 5 times or +15 dB with a soft slope (rate of bass cut) for a smooth treble lift useable at any amp setting without heavy bass loss sometimes associated with treble boosters.

The LRT has about half the gain of traditional treble boosters but a different slope and very low noise, making it useful in any situation were you would normally use a treble booster but with superior noise performance.
It has low enough noise to allow use before fuzz pedals for better clarity.

Output impedance is also medium so as not to hard drive fuzzes of the current-feedback-type (those that go from fuzz to clean between 10 and 9 on your guitar volume knob).

Treble boosters were one of the first effects offered to guitarists, and one that really caught on as the electric guitar made it possible to achieve extraordinary sounds. Instrumental groups of the early sixties, such as Shadows, Spotniks etc. made bright twangy guitars immortal - this is the first sound I could recognize as being made with an electric guitar.

There are two major secrets to this sound: you got to have the right corner frequency where treble lift starts and approximately the same bandwidth as the tape echoes of the day. Such a sound at the appropriate level would overdrive the tape heads but not saturate them and thus a slightly compressed, mildly overdriven, artificially bright sound could be achieved in the echo return.

This trend greatly influenced amplifier tone and amplifiers became brighter.
Treble boosters later came to an other use with guitarists who wanted to get distortion from their amplifiers rather from fuzz tones. Natural distortion was the word for this new dynamic effect. The same principals were now applied to direct signal - the treble booster would boost signal but cut excessive bass that would otherwise saturate the amp at bass frequencies, resulting in a muffled sound, and now instead give even string response with certain set ups.

Samples are made with Fender Strat into clean Fender Blues Deville amp
(Samples played by Andreas Rydman)

Mp3 Samples...
SAMPLE 1

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The Little Green Wonder
This one is a blues/rock pedal that works very well with complex ovedriven amp sound. And it is so far the first BJF pedal that has an op-amp.

As Bjorn Juhl put it:
Whereas Little Green Wonder is a TS-style pedal of sorts, but one for those who don't generally like TS-style pedals. Big difference between these two pedals would be headroom, distortion style and distortion depth and treble response, output level, function of tone knob, color, symbol....they do share a common layout of mechanical components.

It's a low compression, high headroom overdrive with high output, and it has a Body knob for adjusting low-mid content and treble.

Review - This morning I found LGW #5 in my mail box. This is with out a doubt THE best pedal I have ever heard. Maybe because I have been using a TS for ever and it is a familiar sound just a whole lot better. It didn't take me a day to get used to it like the BBOD. As soon as I plugged it in it was amazing. I won't go into it to much because DonneR has already described it better that I ever could. It is so much clearer than any pedal I have heard before. Even with the drive all the way up it is still clear with a lot of note definition. There are a lot of different sounds within the body control and they are all better than any TS type pedal I have heard. It sounds great on its own and boosting either BBOD or PPF. My ts9/808 has been retired. I have never taken it off my pedal board since I got in '97 and now I doubt it will ever be on my pedal board again now that I have the LGW.

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The Sea Blue EQ
The SBEQ is an EQ Booster pedal, with some light distortion capability. EQ range is set in between that of most amps tone controls so as to make a good sound better. You can adjust the ranges that are unable to adjust with the amplifiers tone controls, you can both boost or cut the special high-end and low-end with SBEQ.

It is meant to be used at the end of effects chain to fine-tune the sound and in this gives control over frequency ranges hard to control on most amps- the in between bands.

It has a light ceiling-effect to the upper high treble so as not to boost the treble too much. In this it was tuned to some of the popular brighter amps.
SBEQ can be used by itself as an EQ or booster to give a distorted edge to your tone as well as to overdrive an amp input.
While boosting the distortion comes progressively rather than having a sharp overload point and point of noticeable overload and it distorts later up than conventional EQ pedals.
SBEQ's main goal is to fine-tune response and in this have lower distortion than conventional Graphic EQ pedals especially lower phase distortion. It is also designed to be used with piezoelectric guitars and give control over “ice-pick” treble and general boominess. It can be used also on bass without losses but is mainly tuned for guitar. It can do boost and cut in mids, treble or bass or be used as just boost or damping.

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