Overdrive and boost pedals are used by rock guitarists to boost the guitar's signal and provide more power. Overdrive pedals add grit to your sound as they aim to mimic the sound of playing through a solid state amplifier or a cranked tube amp. Boost pedals typically are used to strengthen the volume of a guitar's signal. Placing a boost before an overdrive pedal or an amp helps to create a more saturated tone. Take a look at the overdrive and boost pedals musicians are using around the world.
Tube Screamer TS9
The Ibanez TS9 Tube Screamer is a reissue that's just like the original in so many ways. Same housing, same famous seasick-green paint, and the same crankin' overdrive that made the original one of the all-time classic pedals. Guitar Player called it the best. Plug it in. Crank it up. You'll hear what all the fuss is about. Tone, drive, and level controls. •Drive, Tone and Level controls •Power Supply: One 9 volt battery (006P) or external AC adapter (Use only DC 9V (Negative center pin))
The New Fulltone OCD V2 The OCD has received many slight tweaks over the last 12 years, often incorrectly identified as “version 2, Version 3, V4, etc.” In reality there has always been only one version…Version 1, with very slight variations after that making them V1.1 through V1.7. On 6/15/2017 we released a very new OCD, different enough that it warrants a V2 designation, an explanation and warrants a trip to your favorite dealer to give it another listen. Not a subtle change when turned on…not a subtle change when turned off (in E.B. mode). Sonic changes to OCD V2 NEW FEATURE output buffer (when pedal is turned on in True-Bypass mode, or always when in Enhanced Bypass mode) which eliminates it from being influenced by effects that came after it. Translation, your sound remains consistent regardless of placement in today’s more complex signal-chains, loopers, and pedalboards. This buffer also had a positive effect on the sound, it reduced loading on the pedal’s hard-clipping stage, allowing more sustain of both the sound and the overtones. NEW FEATURE Class A configured discrete 2N5457 JFET input section, raising the input impedance to 1 mega ohms (previously 330K) and increasing the dynamics…resulting in significantly better interaction with both single coil and humbuckers. NEW FEATURE Internal switch to choose between ”Enhanced Bypass TM” & True-Bypass, and with no popping sound in either mode. No other company offers EB…I invented it. A downside to True-Bypass: True-Bypass (TB) switching was the ultimate way to achieve a clean signal path for many years. Everything’s different now, most guitarists have elaborate pedalboards with 10 or more pedals being the norm, and tremendous potential for signal and tone loss with the many cables, connectors, and other pedals involved in the chain. There can be so much signal loss that it sounds nothing like the sound of a guitar with a cable straight into the front of a great tube amp. Uninspiring. What’s the pedal industries’ solution to this problem for the last 40 years? Unity-gain buffered bypass…i.e. a couple of Field effect Transistors (FETs) configured as unity-gain buffers ala Boss, Ibanez, etc, etc. What’s the benefit to unity-gain FET buffered bypass? It reduces the loading effect that occurs using long lengths of cable, and you remove the loud “popping” sound when switching the device on and off. What’s the issue with unity-gain FET buffered bypass? Although my ears always told me that it sounded “tinny” and that there was signal loss, with the help of a my favorite Electronic Engineer (using some very expensive test equipment) we recently documented that each unity-gain FET buffer actually cuts the gain somewhere between 0.3 to 0.6 dB. This loss of gain is in the low-Mids and Bass frequencies, resulting in that “tinny” sound now that the highs remained and some of the bass and mids are gone. Now factor in that there are two FETs per pedal required to couple the IN & OUT path, that’s an obvious loss of between 1dB-2dB per pedal. What’s an even bigger issue with this old style unity-gain FET bypass? It kills dynamic pick response, i.e. it kills the difference between picking soft and picking hard…Yes, when the pedal is in bypass! This to me is a deal-breaker, and while I’ve always felt this to be the case, it’s great to be able to actually see it on the scope. What’s the solution? Enhanced Bypass! Configuring both of the switching FET’s Class-A! By configuring a FET for gain (also referred to as wiring it “Class-A“) all the dynamics return (and then some), even if you only configure it with the slightest amount of gain, in this case: 0.3 to .06 dB. People rave about old EP-3 Echoplexes and Ep-3 type boosters, and although they know that they love what it does to the guitar’s sound, they can’t explain why. It’s because of the Class-A FET preamp! With a Class A FET the dynamics get amplified, allowing an even greater range of expression than if you were playing through a guitar and just one cable straight into your amp. The downside with EP-3 preamps is that they throw the signal OUT-of-phase, boost treble, and cut bass. Fulltone’s EB the signal exits the pedal IN-phase and doesn’t change the EQ at all. With OCD V2’s Enhanced Bypass you get this benefit whether the pedal is turned ON or OFF. This means that just having the OCD turned off in your signal chain makes the whole rig sound alive, fresh, and more powerful again. VISUALLY V2 has slightly smaller “OCD” and “Fulltone” logos, along with “Built in the USA” under the Fulltone logo. All Fulltone products are built in the USA, the V2 now says it. Make no mistake, nothing Fulltone is made outside the USA, but please know ALL resistors, knobs, pots, capacitors, switches, etc. for EVERY product in the world are made overseas! And because of that, legally you have to say "Built in USA" instead of "Made in USA." Next, the IN & OUT jacks are placed exactly at the halfway point of the left & right sides on V2, whereas with all previous versions the jacks were located more towards the bottom. Looking at the V2 display box you can see the larger decal and addition of “With internally selectable “True-Bypass” or “Enhanced Bypass.” SOUNDWISE? The stages added to the circuit changed the OCD, there’s no doubt, but it changed for the better. Words some people used to use to describe the OCD: “brash,”--“scooped sounding,”--“Bassy,”--“lacks sustain,”-- “too affected by other pedals”….NO LONGER APPLY. SIDE STORY I love Robin Trower, but I get frustrated when I see him play because he’s always using a (pre-Full-Drive2) 1992 3-knob Fulldrive that he got new from me back then. How does that help me sell new pedals? Recently I sent a V2 OCD to him. Then I get a call: “Mike, this OCD...it’s unbelievable, I like it better than my #1 vintage Full-Drive! It’s not brash like my other OCD’s.” (ouch) So now I’m confused, what does a new OCD have to do with an old Full-Drive? Not much, in my estimation. (Robin continues) “It is so natural, full-bodied, and the opposite of brash! I’m using it on stage, tonight’s the second night! Cheers!” Night & Day difference? You be the judge. Again I strongly suggest you try one at your favorite dealer, and then let me know what you think. They are at dealers now.
The Xotic EP Booster pedal for electric guitar is based on the preamp stage of the classic EP-3 echo effects processor. Legendary guitarists used that preamp to craft their studio tones, including Jimmy Page, Eddie Van Halen, and Eric Johnson. The EP Booster pedal delivers up to 20dB of boost that will add an undeniably rich character to your guitar tone. Internal Dip switches allow you to fine-tune the boost frequencies and EQ settings. To hit your amp harder while also adding some character to your tone, Sweetwater can highly recommend the Xotic EP Booster pedal.
Morning Glory V4
The Morning Glory is undoubtedly our most well-known overdrive pedal, winning more awards and receiving more accolades than any of our other designs. We worked hard to make it one of the most transparent overdrives out there. When you want to add some mid- to low-level grit to your crystal-clean tone, use your Morning Glory. When you want to boost a crunchy tone into thicker sustain, use your Morning Glory. When you need to add tube-like touch response to a less-than-ideal amp, use your Morning Glory. When you need to switch between two gain levels on the fly...you get the idea.
Tone aficionados kept telling EHX's Mike Matthews about a pedal that had achieved a lot of buzz because it was only obtainable at an exorbitant price. That pedal was the KLON CENTAUR. A believer in bringing great tools to starving musicians, Mike tasked his trusty team to create an affordable alternative, and that is how the SOUL FOOD was cooked up.
King of Tone
Analog Man, in collaboration with Jim Weider, have come out with the pedal we have been looking for for many years - the King Of Tone (KoT). There are many overdrive pedals on the market, but none of them have been quite right, preserving the tone of the guitar and adding the right amount of overdrive without compromise. There are some good clean boosts available, but they just don't have enough drive to really give your amp the distortion you often want. There are some newer OD pedals that have a great frequency response, but to me they sound too DRY, a bit sterile and cardboardy. There are also some nice sounding pedals available but their sound is too "saturated", losing the touch and feel of your guitar. That is where the King Of Tone pedal comes in - it has enough warm overdrive but still preserves the tones of your quality guitars and amps. If you are looking for a big change in your sound, or a lot of distortion, this is probably not the pedal for you.
Designed in collaboration with Resonant Electronic™, Brothers™ is built upon two independent JFET / IC analog channels comprising a total of six unique boost, drive, or fuzz circuits in one small enclosure. The pedal can be routed in thirty-three distinct ways, including mixing them in parallel or changing the order of the effects. As with every Chase Bliss pedal, you can save everything and recall presets instantly, on-the-fly either on the pedal or with MIDI. Every knob and switch is connected to a little digital brain while your guitar signal stays 100% analog the entire time and never gets digitally processed.
Designed as the ultimate tone shaping tool for a player’s pedalboard, the PRISM is a buffer, boost, preamp, EQ and overdrive all in one beautiful and compact stainless steel enclosure! “I love it! It’s like Photoshop for guitar!” – Mateus Asato Much like an optical prism, which takes white light and breaks it apart into the different colors, the Jackson Audio PRISM takes your guitar’s natural tone and allows you to boost it, shape it and transform it into a new tone that is uniquely you! Use it shape your tone, slam the front of your amp or add new dimension to your existing pedals, any way you use it, we believe the PRISM will be the cornerstone of your rig for many years to come!
Lightspeed Organic Overdrive
The Lightspeed Organic Overdrive is a very natural sounding overdrive. Why "organic"? Well, simply put, it's the clearest, most natural feeling, and best overdrive we've heard for the player looking for a natural drive tone. Blending with the tone of the guitar and amplifier, this pedal has rich harmonics and complex but smooth clipping. The Lightspeed Overdrive is sensitive to pick attack and has a different "feel" than other overdrives. The Lightspeed can be set to be "transparent," but can
Double Barrel V4
This is our "Everything low-to-medium gain" pedal and it just got better! The Double Barrel V4 is for the player who needs a versatile but transparent overdrive at medium and light gain levels. You won’t find face-melting distortion here, but you will find overdrive with the character and stacking abilities to cover almost any tonal need. So let’s look at the Double Barrel V4 and see why it packs a one-two punch that is unrivaled.
When we released the Superbolt in 2012, we never dreamed that it would become one of the most recognized and distinguished pedals in our history. Turns out there are guitarists all over the world that are loving the ‘60s-era Supro amp-in-a-box tones that this pedal churns out. In designing the pedal, we paid very close attention to the feel and sound that made the original amps the go-to combos for players like Jimmy Page, Brian Setzer, and Switchfoot’s Drew Shirley. And with the SuperBolt Version 2, we’ve upped the ante by giving you access to our versatile Gain boost circuit via the front-mounted toggle or our own JHS Red Remote footswitch (sold separately).