“Based on the classic design from the ’70s, the Screaming Bird treble booster is back to help your sound take new flight. Whether it’s overdriving an amp or just adding some serious bite to your sound, this Bird will scream nothing but highs and will make your guitar cut through any mix. Step on the Bird and fly away!” – Electro-Harmonix

EHX Screaming Bird – BJF “Thunderbird” Mod turns this into a great lead boost…no ice-pick! Just upper-mid ROAR, and adds an internal trim to get the bottom just right!

The post EHX Screaming Bird – BJF “Thunderbird” Mod appeared first on BearFoot FX.

BearFoot FX presents the BJF-designed
One Control Prussian Blue Reverb!

Demos

Jake Cloudchair

Hans Johansson

A reverb effect simulates a mild reverberation that is created when a sound is reflected in space. Whether an electric guitar/bass or other electric or acoustic instrument, all sounds accompany reverberation in space before reaching human ears. The sound that is created for an ideal reverberation heard in the best spot in space is what an instrument at its best can offer.

The Prussian Blue Reverb is a reverb effect that creates the ideal reverberation. History has seen various reverb systems that make it happen. Some people made a room particularly designed for reverberation. Plates, springs, digital reverb and all other historical evolution of reverb effects were results of pursuing ideal reverberation.

Digital effect technologies have now developed and these past reverb effects can now be easily simulated. If you want the sound you heard in past classics, these simulated effects are useful. Also, new unique effects that are based on reverb but complemented with new ideas also create amazing effects.

The Prussian Blue Reverb is different from the effects that took off from historical simulation and reverberation. BJF wanted to create reverb effects that are really sought by players when they play guitars and bass. He did not want rich and powerful spring reverb or a reverb tone produced as a deluding effect with a higher octave. He pursued ideal reverb tones in order to maximize the potential of the instrument by keeping the effect on all the time.

The Prussian Blue Reverb is a reverb pedal that recorded BJF’s custom programs on a 24-bit high acoustic quality digital chip. Its dry signal is naturally analog-dry-through that is not converted to digital.

Ideal reverb tones for guitarists and bassists are neither spring, hall, nor room. It is a mixture of their strengths but goes the middle way and exhibits strong presence. To put it into more relative terms, it’s closer to the hall tone than to spring, but not as bright as hall reverb.

By randomly modulating the decay time of reverb signals, it creates the effects by which sounds spread in the space while remaining mono effects. This random modulation is programed to imitate the string vibration property of guitars and basses. This is a property unique to the Prussian Blue Reverb, different from the conventional reverb algorithm that creates layers of individually recorded reverberation. It is natural and solid but not too plain, and is most similar to the ideal reverb tone that players really seek.

The Prussian Blue Reverb has a dynamics range that is five times as broad as general spring reverb. It is filtered to prevent it from having too much treble or being too saturated with the bass. Its dynamics range is broad for a reverb effect and creates open spatial property.

At the same time, decay control was added to prevent reverberation from interfering with rhythm. The decay control designed by BJF does not simply adjust the overall reverb length. It is a control for enabling easy setting for seamless reduction according to the guitar tones. The decay time can be set from 2ms to 2s from soft reverberation placed on top of the sound to long-lasting reverberation. The precise decay control and overwhelmingly natural reverb tones are similar to studio-level reverb as a result of modern technologies that are designed specifically for guitars and basses.

The Prussian Blue Reverb allows you to mute a dry signal with the Kill Dry switch. While it is a common function among rack-mounts, it is also effective when it’s connected to a parallel effects loop on some guitar amps and mixers. If you connect the Prussian Blue Reverb with the Kill Dry on to the main signal chain, you can use it to create slow volume effects by setting the early reflection to short.

• It takes several seconds from the time the power is turned on until the digital chip inside is stabilized and starts running. The tone may become unstable during this period, so please maintain the bypass for several seconds after connecting an adapter.

“In developing reverb effects, I sought the reverb setting guitarists wanted. They often want a reverb tone that is between spring and hall but slightly closer to the hall side as is the case for me. I added more precise decay control that will not interfere with the rhythm.

I was confident but when I actually heard the tone Prussian Blue Reverb (PBR) made, it was amazing. You can say that there is unlimited space expanding in this small pedal.

This pedal is designed for guitars and basses. It is not only suitable for electric guitars and basses but also for acoustic guitars and basses as well.

PBR provides the best sound when it’s connected after distortion effects and before tremolo effects.”

— Björn Juhl

The post Prussian Blue Reverb appeared first on BearFoot FX.

BearFoot FX presents the BJF-designed
One Control Persian Green Screamer!

Demos

Jake Cloudchair

Hans Johansson

The post Persian Green Screamer appeared first on BearFoot FX.

BearFoot FX presents the BJF-designed
One Control Little Green Emphaser!

Demos

Hans Johnasson

Jake Cloudchair

Takamune Negishi (Bass) & Jake Cloudchair (Guitar)

The post Little Green Emphaser appeared first on BearFoot FX.

BearFoot FX presents the BJF-designed
One Control Little Copper Chorus!

Demos

Jake Cloudchair

Hans Johansson

The One Control Little Copper Chorus is designed to give the playing feel of a Fender Vibratone rather than that of a typical chorus effect pedal, and as such offers a modern use for an effect that otherwise has been overused for decades. Back in the 1980’s you just had to have a chorus or be sacked from the band!

In the mid 1980’s, I secretly listened to artists such as Stevie Ray Vaughan and Lonnie Mack on my way to rehearsal and likewise secretly practiced using chorus ahead of distortion to get the sounds of an organ more than those made by guitar.

Typical chorus effects pedals run triangular wave oscillators while the Little Copper Chorus runs a sine wave oscillator. Sine wave is also what is produced by an electrical motor such as one in a Fender Vibratone cabinet.

That said, the Little Copper Chorus can produce standard chorus sounds as well.

The Little Copper Chorus sports three controls:

• WIDTH: sets the width or depth of the modulation
   
• COLOUR: a tone control that allows a mild mid-boost. Chorus as an effect has a slight tendency to become scooped. So in order to allow settings that stand out, the Colour knob has been added.
   
• SPEED: allows control of speed from almost standing still to rotary. At full speed, there’s the sound of a rotary speaker rather than a detuned sound.

The post Little Copper Chorus appeared first on BearFoot FX.

BearFoot FX presents the BJF-designed
One Control Lemon Yellow Compressor!

Demos

Jake Cloudchair

Bobby D

The post Lemon Yellow Compressor appeared first on BearFoot FX.

BearFoot FX presents the BJF-designed
One Control Hooker’s Green Bassmachine!

Demos

Takamune Negishi

Jake Cloudchair

Hooker’s Green Bass Machine. Our first bass effects pedal was very difficult to produce. Development was slow and we were very close to giving up. We were desperate. Yet, thanks to advice and feedback from BJF and all the people involved, we were able to complete the product.

The biggest challenge to overcome was the fact that guitarists and bassists feel things differently. While they pursue the best sound on the same ground, they do it in different ways. Understanding what they visualize was the toughest challenge for us. This pedal can intuitively reproduce the sound that bassists feel and imagine in their heads. When our indefatigable brain incorporated the sound created by the final prototype, there was no doubt that we had experienced something precious. This pedal is a milestone for One Control. It is a turning point for us.

The tone you imagine manifests itself in this pedal.

What does “distortion effect” mean for bassists? They naturally have different ideas depending on their playing styles and genre. Yet, bass distortion effects pedals…especially overdrive pedals… are thought to be an extension of amp simulator/preamp or on-board active preamps.

In order to fulfill the functions of both an amp and a bass, bass overdrive pedals tend to be multi-functional and are large in size due to an increased number of knobs and terminals.

Pedalboards are getting larger, even more so recently. Distortion and various other effects can be used effectively to add color to music. Now, more than ever, bass overdrive pedals need casual usability like a guitar overdrive.

One Control Hooker’s Green Bassmachine embodies everything bassists need in its small body from the bass amp features to tone and deep feelings.

Bass tube amps are essential for an old school rock sound. Nothing can beat the controllable tones and feelings they create.

Moreover, old SUNN bass transistor amps are able to create high-level distortion that modern bass amps cannot achieve and that many professional bassists wouldn’t think of replacing.

Hooker’s Green Bassmachine gives you the tone and feeling of bass tube amps and old transistor amps when used with a modern bass transistor amp that is common in many music venues and studios. When Hooker’s Green Bassmachine is turned off, you can get a modern transistor amp sound.

By combining a modern transistor amp that is most commonly used by contemporary bassists and this small Hooker’s Green Bassmachine, you can cover all the bass amp sounds that many bassists seek.

Hooker’s Green Bassmachine has a dynamic range as wide as a bass tube amp and picks up all the subtle expressions that bassists create with their fingers. Transitions between clean and distorted sounds are smooth and it creates a gorgeous but stable compression tone like an old transistor amp when you increase the distortion. You can control your bass in any way you like.

It won’t miss any finger touches and accurately produces any groove from blues, fusion, or hard rock to metal. Its moderately sharp attack and clear-sounding keys do not decrease the speed realized by picking. Slapping, percussive chunks of sound by thumb popping, and sound created by pulling can be maintained and kept stable. The ability to freely control distortion enables you to play in a relaxed and comfortable way.

For heavy tracks using a multi-string bass, the Low trim pot on the side does its job. Hooker’s Green Bassmachine has enough low-end, but if it’s not enough for you, try turning the trim pot.

Hooker’s Green Bassmachine’s TREBLE knob has limited range to allow subtle adjustment. Many music venues and studios have modern bass amps equipped with powerful EQ and basic bass sound is created using that. What is required for an overdrive pedal is delicate sensory adjustment that is impossible with amp EQ.

While a number of bass effects pedals have knobs for blending and mixing, Hooker’s Green Bassmachine does not have them. The distortion circuit sometimes narrows the dynamic range and as a result creates a “coreless” sound. “Blend” is effective for giving “sound variation” in fuzz and space effects, but blending in bass overdrive pedals is only supplementary to dynamic range. Hooker’s Green Bassmachine introduced a dynamic amplifier circuit that handles bass signals fully. Thus, it does not create any coreless sound that is impossible to distort and therefore the blend knob is unnecessary. It also helped reduce the size of the product.

Hooker’s Green Bassmachine is compact not because it has fewer functions. It is designed to realize the maximum potential to create great sound with minimum body size.

If you absolutely need to blend for sound variation, use our One Control Mosquite Blender for blending any effects.

Hooker’s Green Bassmachine does not have a balanced out connector. You can create a lively bass sound with a line connector if you connect it to a mixing board directly and use it as a DI pedal.

● As a guitar overdrive pedal

Hooker’s Green Bassmachine was originally designed to be a bass overdrive pedal but can function as a guitar overdrive pedal as well.

Its wide dynamic range covers the full range of the guitar frequency and creates various sounds from a clean sound (after applying the highest quality compression available) to a thicker medium overdrive sound. It’s highly responsive and its ability to express various distortions with the guitar’s volume control is beyond many guitar overdrive pedals. Its response is comparable with our One Control Strawberry Red Overdrive and Anodized Brown Distortion that have the highest response level.

Hooker’s Green Bassmachine creates BJF’s “trademark” unique, solid dark European tones when it is used as a guitar overdrive pedal.

The frequency range that also supports multi-string bass is ideal for guitars tuned low as well as seven, eight, and nine-string modern guitars.

● High-voltage operation

Hooker’s Green Bassmachine operates under high voltage when used with up to an 18V adapter. With higher voltage, headroom is increased to allow even richer expression while reducing the gain slightly.

Although it’s most effective for solo bass or guitar, 9V operation might give a stronger core when used in ensemble or guitar riffs. You can change the voltage according to your needs.

“Hooker’s Green Bassmachine (HGB) is an all-purpose bass machine for any genre after the 1950’s. The impression I get when I increase DRIVE to full is like the bass sound that Lemmy of Motörhead made.

I tested it with a guitar, both with transistor and tube amps. It worked well with any guitar amps and pickups. It could be a great trick to improve your sound.”

— Björn Juhl

The post Hooker’s Green Bassmachine appeared first on BearFoot FX.

BearFoot FX presents the BJF-designed
One Control Granith Grey Booster!

Demos

David Henriksson

MrExcane (Granith Grey Booster w/Anodized Brown Distortion)

The booster is an effect that amplifies incoming signals. If the incoming signal has noise in it, the noise is also amplified. This is an undeniable fact. However, you don’t have to compromise by thinking that this is unavoidable when you use a booster.

Try a truly noiseless booster. A world you’ve never experienced will unfold before you.

The One Control Granith Grey Booster is thoroughly dedicated to low noise. From the designing stage of the circuit, we tried to eliminate noise up to the limit of possibility. After repeated consultations between BJF and One Control, the booster now has a completely newly-designed circuit by BJF. It is full of BJF’s unique ideas that are liberated from conventional circuits. The case is made of high quality cut-out aluminum to protect the precious sound signals from inside and outside noises. It is also much more durable than die cast cases.

Furthermore, the switching noise that is inevitable with true bypass switching is minimized with our original filter circuit.

As a result, the Granith Grey Booster went beyond the capabilities of a compact pedal and attained an S/N ratio equivalent to a high-end vacuum tube audio amp.

Relevant and easy-to-handle boost gain

The One Control Granith Grey Booster allows a boost of about +16dB with the level knob set at the maximum level. You might think this is nothing extraordinary but we went through a number of tests with different values at our trial stage.

After repeated tests at different levels, it turned out that securing a +16dB boost was sufficient when a clean booster boosts up amps and distortion pedals or when enhancing the level of sound after distortion.

It might be impossible to create distortion with a booster alone. But in order to use a clean booster as a clean booster without losing dynamic range and outputting the guitar and bass sound while amplifying but basically keeping their original sound, and to realize the natural usability with any equipment with any connection, we determined the amplification at around +15dB which is appropriate for a clean booster.

And, if you turn the level knob down to the minimum, you can mute the sound and this allows the setting level cut and unity gain as well.

Pure texture

The One Control Granith Grey Booster will quickly make you aware of the pure tone that this pedal provides.

The frequency characteristic of the Granith Grey Booster is unique. A booster amplifies the incoming signals themselves. If you turn up the output without changing the frequency characteristic of incoming signals at all, you won’t be able to ignore the unnatural feeling it creates. It is the discomfort that was brought about by the difference between the frequency characteristic at the original output level and the actual output level.

The Granith Grey Booster is made in such a way that it outputs the incoming sounds just as they are while creating relevant frequency characteristics according to the output level when going through the boost circuit.

By doing so, the Granith Grey Booster realizes a pure and high quality boost sound without solidifying the sound or narrowing the dynamic range.

Suitable for any guitar, bass or equipment

The One Control Granith Grey Booster secured the 500kΩ input impedance to support any guitar and bass. You can use it by directly connecting to various guitars and basses regardless of types ranging from single coil, humbucking, active or passive.

Output impedance was kept low up to 2kΩ at most, which fits almost all pedal input and effects loop return on the amp.

Awakening amp potential

The One Control Granith Grey Booster is great with any guitar amp. It not only pushes a tube amp, but also is suitable for boosting drive channels inside transistor amps. It can also be used just like other amps for analog circuits even when used with a number of digital amps.

If you are using high-gain amps, connecting the Granith Grey Booster to the effects loop will allow the volume to be boosted with power amp distortion while taking advantage of strong preamp distortion at the same time.

The Granith Grey Booster will maximize the potential of any amp to awaken its true capability.

For any pedalboards

Even the greatest booster cannot be called user-friendly if it requires special care while transporting it.

One Control introduced an original super compact cut-out aluminum case for the Granith Grey Booster. The size allows compatibility with small pedalboards as well as larger ones.

We also made pedals this size to be battery-powered to allow usage without an outlet. The innovative technologies that arrange four PCBs inside secured the space to hold batteries while preserving the standard mini size.

The power consumption is kept below 1mA to allow longer battery power.

The One Control Granith Grey Booster works with center negative 9VDC adapters (EPA-2000 is recommended) or 006P 9V batteries.

• When batteries need to be replaced the LED lights turn off and the sound starts to be distorted.

The drive voltage of the Granith Grey Booster is set at higher than the normal level (8.8-9.6V) to realize high quality sound. So the batteries need to be replaced before they get down to zero. Please use new batteries when you replace them.

The current consumption of the Granith Grey Booster is quite low, staying under 1mA, and allows longer battery life even at higher voltage.

Major usage of a clean booster

・As a gain booster for pedalboards

A clean booster amplifies incoming signals into the distortion pedal by connecting before other distortion pedals. This, as a result, creates effects like the ones created by moving gain knobs. You can adjust the output sound volume using the distortion pedal. And if you connect a spatial pedal after the clean booster, input to these effects is amplified and sometimes create its own unique effect.

・As a master volume on the pedalboard

If you connect a clean booster at the end of the pedalboard or after the distortion pedal, you can adjust the volume while maintaining the distortion created by other pedals. You can switch the booster on and off to switch levels of sound volume all at once, like switching between the rhythm and lead.

・As a gain adjuster for a tube amp

If you connect a clean booster before the tube amp input to adjust the volume boost setting, you can increase the strength of the distortion by turning on the booster.

On the other hand, if you distort the amp first and set the clean booster to lower the volume when it’s turned on, you can decrease the gain on the amp when it’s turned on.

・As a volume adjuster for tube amps

If you set a clean booster in the amp’s effects loop, you can adjust the output level of the signal sent to the power amp while preserving the preamp distortion. Set it to increase volume and you will be able to give power amp distortion along with the high volume when it’s turned on. Set it to lower the volume to use it like an attenuator.

“As a clean booster it is excellent and boost range is 15dB which is more than you’d need to set level for rhythm solo but 15dB is perfect for heating up a stale amplifier input and so it can work as a spare tube.

Indeed noise level is very low and among the very best I have ever heard in a booster.

One key to this is that the filtering of the circuit is made to fit the frequency range of an electric guitar and that lowers some overtones that could otherwise be present.”

— Björn Juhl

The post Granith Grey Booster appeared first on BearFoot FX.

BearFoot FX presents the BJF-designed
One Control Crimson Red Bass Preamp!

Demo

Jimmy Spring

Takamune Negishi

The One Control Crimson Red Bass Preamp is a bass booster designed to make the sounds of ’60s and ’70s bass guitar, offering deep bottom boost at a distortion level so low it makes mostly shimmer and combines this into a bass sound heard on older records.

The Crimson Red Bass Preamp brings the sounds of older bass amplification as bass sound was known before the extreme clarity found in 400W+ amplifiers which include tweeters. With this type of set-up, the Crimson Red Bass Preamp offers the sound of a single 15″ or 18″ speaker.

The Crimson Red Bass Preamp offers 3 controls:

• VOLUME: Controls the final output of the Crimson Red Bass Preamp
• BRILLIANCE: Controls the bandwidth. At maximum level, high treble can pass through, while mostly bass is amplified at CCW setting
• GAIN: Controls the boost of the Crimson Red Bass Preamp. Setting this control at CCW gives the widest bandwidth whereas increasing GAIN will boost mostly bass. Interacts with BRILLIANCE control for EQ adjustments

The Crimson Red Bass Preamp can be used as a preamp for modern bass amplification for creating old school sounds similar to upright bass or ’60s and ’70s electric bass guitar.

The Crimson Red Bass Preamp is the second effect in the One Control Bass Series. The first was Hooker’s Green Bassmachine. Stay tuned for more products specifically designed for bassists!

The post Crimson Red Bass Preamp appeared first on BearFoot FX.

BearFoot FX presents the BJF-designed One Control Baltic Blue Fuzz!

Demos

Jake Cloudchair

Hans Johansson

OneControl and BJF have created another legend.

There have been various fuzz pedals throughout history. They have created many legends and attracted countless guitar players seeking a vintage fuzz tone.

The Electro-Harmonix Big Muff Pi stands out amongst these, boasting decades of glorious achievements and outstanding reputation. It is one of the rare fuzz pedals in the world that has continued to evolve. Mike Matthews once described the Big Muff circuit as fuzz through robust filters. The One Control Baltic Blue Fuzz is a new generation vintage fuzz pedal designed by BJF based on this idea.

The world’s first fuzz pedal is supposedly the Maestro Fuzz Tone FZ-1 from 1962. This fuzz pedal was originally developed in the United States, and was later refined in 1965 and reborn as the FZ-1A. However, at the same time there was another fuzz pedal that became a legend in the U.K. This was the Tone Bender developed by Gary Hurst. This pedal had a tone that was influenced by the FZ-1 circuit but was known for its original tone. Since launching the first generation Mk1, successive models had been developed including the Mk1.5 in the transitional year 1966 and Mk2 as well as their clone models and improved versions or OEM models. It increased the popularity of fuzz pedals tremendously.

In 1966, the internationally renowned Fuzz Face was launched. This pedal is not only as famous as the Tone Bender but also is known for its circuit being similar to the Mk1.5, a version of the Tone Bender made during its transition period. The Tone Bender was also upgraded to the Mk3 in 1968 and the Mk4 in 1969.

Fuzz pedals have matured over time from the original FZ-1 to many various models.

In response to these British fuzz pedals, Bob Mayer in New York developed a fuzz pedal in 1969. He was an engineer at Electro-Harmonix and his fuzz pedal was the first Big Muff Pi, which is now called the Triangle. This model was sold until sometime around 1973, and after that, it was upgraded to a model called Ram’s Head with an improved housing. The Big Muff Pi is basically a fuzz pedal newly developed after the initial development in the U.S. and polished in the U.K. It’s a result of repeated research on fuzz pedals and provides the original fuzz sound that today’s guitarists seek.

The Baltic Blue Fuzz circuit is not a Big Muff clone but shares the same topology. Some of the tones modern guitarists seek in the Big Muff are those of Triangle and Ram’s Head. Despite the difference in actual devices, Triangle and Ram’s Head have almost identical circuits and their tunes are very similar as well. The Baltic Blue Fuzz was created to produce a tone that this generation wants. Reproducing the vintage fuzz tone is something all builders in the world are working on now. If they want to replicate the old time sound, they need to be very specific about the vintage NOS components, housing, pots, and circuit patterns.

One Control BJF Series used an overwhelmingly small housing to provide an effect that has the original circuit designed by BJF and uses commonly available components. We think it’s important to create a model that is universal and easily available in any situation.

BJF combined multiple amplifying stages and filters when designing the Baltic Blue Fuzz. Although the idea behind this design is from Big Muff, he used an Op-Amp in order to ensure stability and match modern components in general.

Imagine the initial Big Muff. The sounds associated with Triangle and Ram’s Head are what the Baltic Blue Fuzz is trying to provide. We want to make sure you get the sound you image as soon as you turn on the effect. The sound also needs to be crisp and come forward in the ensemble.

The Baltic Blue Fuzz is a pedal you can casually carry on your pedal board or in a gig bag and rely on like overdrive and distortion pedals whenever you want the vintage muff sound.
The Baltic Blue Fuzz is a pedal for creating a vintage muff sound but at the same time emphasizes the crisp sound that comes forward. Thus, while maintaining the same gain range as the vintage Big Muff, adjustments were made to ensure a slightly tighter and lower gain than the original. It was tuned to be used with electric guitars and filtered to create powerful feedback tones. It is free of the peakiness that is common among vintage fuzz pedals or other clone models and increases playing stability.

BJF added a Tone control to the Baltic Blue Fuzz that is incomparably easier to use than the vintage original model. It is designed in a way so that guitar tones can be adjusted in the full knob range without being destroyed. It’s also highly responsive and knob movements are reflected in sounds immediately. One legendary guitar player prepared and used a number of fuzz boxes to attain the sound he wanted in a particular moment. With Baltic Blue Fuzz, just turning the Tone knob lets you find the sound you want.

Vintage fuzz pedals have some kind of magic power. Authentic vintage fuzz pedals, considered to be legendary, are great indeed. High-end clone models that are created after repeated research and elaboration in an attempt to reproduce the tones have the same overwhelming power as well. The Baltic Blue Fuzz is neither a vintage fuzz pedal nor a pedal whose sole purpose is to reproduce the tone it makes. It is a friendly and portable vintage muff pedal that gives you the freedom to control the immediately recognizable vintage muff tone according to your preference and equipment.*

*Electro-Harmonix, Big Muff Pi, Maestro, Fuzz Tone, FZ-1, FZ-1A, Tone Bender, and Fuzz Face in the body text are used for explanation purposes only and we have no association with New Sensor Corp, Gibson Guitar Corporation, or Dunlop Manufacturing, Inc.

“After receiving the Baltic Blue Fuzz (BBF), I tested it with various guitars and amps. With the humbucker guitars, BBF creates focused and fine sound and easily gives a tone like that of Carlos Santana. Now when it’s connected with the Stratocaster with the BJF/Lundgren set, the sound reminded me of the record I listened to in my brother’s bedroom back in the ’70s. My Hiwatt amp does not produce Gilmore-like sound even with the Big Muff but the BBF did. You can certainly enjoy it with a P-90 or Telecaster as well.

With the low-impedance active pickup guitar, the filtering response changes and creates a modern fuzz tone at the same time. Placing a BJF Buffer before the BBF using a passive pickup yielded the similar effect.

The BBF allows you to set the sound easily with British amps or Fender amps like the 1967 Super Reverb. It produces modern tone when it is connected after a booster like the Granith Grey Booster (GGB). If it’s connected before the GGB, you can set two volume levels. It’s recommended either way.”

— Björn Juhl

The post Baltic Blue Fuzz appeared first on BearFoot FX.

BearFoot FX presents the BJF-designed
One Control Anodized Brown Distortion!

Demos

Burgs

Hans Johansson

Redefining “Distortion”

Distortion effect, as the name suggests, means the effect of distortion itself. Among many distortion-type effects, it’s not yet a prominent effect.

Why is the distortion effect so underrated?

Distortion that’s flat with disproportionately high gain doesn’t bring out the sound in the front well, and isn’t suitable for delicate and subtle expressions. It can never match the sound from a large output amplifier.

That’s what you might think when you hear the word “distortion.” If that’s the case, let’s blow that image away.

The One Control Anodized Brown Distortion breaks through the conventional image associated with distortion pedals and embodies a new definition.

The development of the Anodized Brown Distortion began in an attempt to create a tone that is audible and has a great sound source. The distortion that guitarists all over the world have longed for is not something you can just create by simply imitating the tone created by driving a tube amp.

No matter what type of amp or guitar you use, what matters most in making the best distortion is always a distortion pedal…and this pedal needs to express all the subtle movements of the player’s fingers.

The distortion pedal also needs sufficient gain, as well as compression and long sustain to help a player express his/her sound freely. Incorporating that, Anodized Brown Distortion is a pedal designed for players of all genres who need distortion.

Developing 100W vacuum tube amp stacks might be easy, but attaining the same level of effects with an extremely compact pedal isn’t at all easy, and is therefore more meaningful. Further, housing a battery in such a small case makes this a truly revolutionary effect!

Large output tube amps feature response, operability and a sense of compartmentalization. They also feature sharp yet stable attack, flexibility that covers lead to rhythm, and a high dynamic range to avoid unnatural distortion.

BJF, who has been engaged in designing a number of world-class effects pedals and amps over the last few decades, has created a distortion pedal that realizes these same features.

Anodized Brown Distortion attained a wide and high gain range of +26dB to +60dB and at the same time realizes a high dynamic range that is rare among distortion pedals. The dynamic range at the low gain setting, in particular, is just as good as tube amps. Even with a high gain setting, manual control with picking attack and guitar volume allows for an immediate response to clean compressed arpeggio.

A humbucking pickup allows a perfectly balanced great distortion sound that enhances the sufficient level of low-mid distortion specific to a single coil. You can easily control the distortion with active pickups as well.

Anodized Brown Distortion realizes the best distortion in combination with various amps. It works exceptionally well with a British stack, but when combined with an American classic amp or clean transistor amp, it generates solid, three-dimensional distortion as if each sound particle were vibrating.

A tight, fat low end, the presence of natural saturation free from any artificial treble buzz, a lowered guitar volume diluting high frequency saturation, a sufficiently solid but organic sound, and long-lasting sustaining that fades out in a natural way…

One compact distortion pedal cannot possibly have all these seemingly impossible features. And yet, the Anodized Brown Distortion does it all. It‘s the pedal that made the impossible a reality.

This is a completely new distortion pedal defined by a new era.

The post Anodized Brown Distortion appeared first on BearFoot FX.

BearFoot FX presents the BJF-designed One Control Fluorescent Orange Amp In A Box!

Demo

Hans Johansson

Sean Gibson

Jake Cloudchair

The post Fluorescent Orange Amp In a Box (IN STOCK!) appeared first on BearFoot FX.

Demos

Mike Hermans

Hans Johansson

Jake Cloudchair

The post Golden Acorn OverDrive Special appeared first on BearFoot FX.

BearFoot FX brings you the NEW BJF-designed One Control Dimension Blue Monger!

Demos

Mike Hermans

Hans Johansson

Burgs

Jake Cloudchair

The post Dimension Blue Monger appeared first on BearFoot FX.

BearFoot FX presents the One Control Cranberry OverDrive…all NEW and designed by Björn Juhl of BJFe!

Demo

Jake Cloudchair

The post Cranberry OverDrive appeared first on BearFoot FX.

The post 10 appeared first on BearFoot FX.

BearFoot FX presents the BJF-designed One Control Sea Turquoise Delay!

Demos

Sean Gibson

Mike Hermans

Jake Cloudchair

Hans Johansson

One Control Tourbox Reviews (The Gear Page)

GEAR USED: Warmoth/Fender HSS partscaster with a Suhr Thornbucker and two DiMarzio Cruisers through a Soldano SP77 preamp and Rocktron Velocity 150 power amp into a Mojotone 2×12 (65W Creambacks)

“This initially was my early favorite, but that’s coming from a delay junkie, so not unexpected. That said, the delay is very nice. Crisp and clean without sounding too sterile, though a little modulation would’ve been welcome (maybe add an internal trimmer for it or swap the kill-dry for it). It’s a no-frills delay that gets the job done and sounds good doing it.”  (USA, July 2016)

GEAR USED: PRS SE w/SD humbuckers through a Fender Blues Deluxe

“The Sea Turquoise Delay offers just a taste of delay craziness while generally keeping things simple and on the extremely tasteful side. There’s a Delay knob, a Level knob, a Feedback knob, and a Kill Dry switch on the side. That’s it! For those who seek simplicity as well as functionality (and who don’t need such luxuries as tap tempo, for example) the STD might be the delay pedal (or one of the delay pedals) for you. The repeats can go from very subtle and beautiful, really, to self-oscillating, so it’s not all dull! It sounds more analog-like to my ears than digital, which is a positive thing in my opinion. The repeats are very natural and organic-sounding even when fairly extreme. If you want a bit of oscillation, you’ll need to turn the Feedback up fairly high. It also does slapback very well. Overall, the STD is a quality delay in a tiny package that really delivers for those who don’t need anything complicated, or for those who want to add a second delay to their board without taking up much space.”  (USA, July 2016)

GEAR USED: PRS S2 Custom 22 Semi-Hollow into both an Archon and Princeton

“…I would not hesitate to use this pedal as a dedicated slapback delay. On longer delay times it was a pleasant enough sounding delay but where it really shined was on slapback setting into the front end of the Princeton. Something I odd I noticed while playing through the delay (that actually holds true for all of the pedals in this box) is that they prefer to go in front of the amp instead of in an effects loop. Or at least they preferred the front end of my Archon more than its loop.”  (USA, September 2016)

The post Sea Turquoise Delay appeared first on BearFoot FX.

BearFoot FX presents the BJF-designed One Control Purple Humper!

In Issue 155 of Tone Report…click HERE to read Eric Dodd’s review of the One Control Purple Humper!

Demos

Mike Hermans

Jake Cloudchair

Vitali T

Midrange is considered to be the most important area of guitar sound.

As “distortion” created by overloading the amp is used for guitar sound more often and the sound became more widely accepted, the mechanism that emphasizes the midrange naturally increases as well.

In the 1960s, some of the amps made in the U.K. had built-in mid-boosters. This was passed down as the sound of foot-operated wah-wah pedals.

There are also a number of historic mid-boost pedals as well. The legendary overdrive pedals made in the ’70s are also known for their emphasis on the midrange.

The BJFe Purple Humper was originally developed in response to the request to make a more versatile pedal based on the mid-boost circuit built into the Stratocaster so that it could be used with different guitars.

In developing the pedal, the ’60s Stratocaster output level was adjusted to the output level of the ’60s ES-335 and some more adjustments were made to support various pickups. This is a rare BJFe pedal that was merchandised in limited numbers.

One Control paid close attention to the sound this pedal makes. While there are many pedals that boost the midrange, the sound of the Purple Humper is neither an overdrive nor a cocked wah sound. It is not the same as many other mid-boosters.

It actually provides a supreme British-feeling large output amp tone that has excellent guitar tonal balance instead of a mid-booster that extracts the mid too much and creates a muffled sound.

For example, the Purple Humper changes the not-so-solid sound of a clean transistor amp into a British-flavored vintage sound in one spell. An exquisite clean tone that you don’t want to stop playing is the essence of what the Purple Humper can offer.

Using the Purple Humper with a distorted amp setting and other distortion pedals is an effective way to use it. When used with distortion effects, you can create a real, shiny and smooth guitar sound while maintaining the original distortion feature.

The frequency range of the Purple Humper is made to fit various music types that require distortion.

By adjusting the knob and combining with guitar amps, you can change the hard transistor amp clean sound into a shiny British sound, change the Stratocaster bridge pickup into a sound like a hollow-body neck pickup, create an ’80s metal lead tone, or add heavier distortion with a single coil.

If you want a British sound, the Purple Humper is ideal for correcting amp and pedals as well.

If you need to use amps that are attached to a concert hall or studio, use the Purple Humper with your pedalboard. You can simulate a vintage British amp sound and also make minor tonal adjustments.

It was tested not only with single coil but also with humbuckers, P-90 pickups and active pickups to allow hitting the sweet spot with any pickup.

Why is the Purple Humper so controllable?

While it is naturally because of the underlying dynamic range and British attributes of the original sound, the single Blend control plays an important role in ensuring its high controllability.

The Blend control widens input and boost signals through the buffer. When it is at the minimum level, it hardly changes the tone, but at the same time creates a BJF signature warm buffer sound. When it is at full up, it creates a powerful midrange boost up to eight times (+15db) the input signal.

While the boost level is great, the Purple Humper does not raise the acoustic volume due to its nature, so you can use the full range of the knob without crashing the sound when combining with other distortion effects.

Like many other boosters, the Purple Humper creates different effects depending on the order in which you connect it to other distortion pedals.

You can connect it in any order in your pedal chain, but when you use it for the first time, we recommend creating a clean sound first before thinking about the order in which to connect it.

Set the Blend knob according to your guitar or amp at the level that gives you a clean tone that sounds good to you.

Next, connect another distortion pedal before the Purple Humper if the Blend knob is located on the left side, or connect it after the Purple Humper if the knob is on the right.

In many cases, the Purple Humper allows you to experience a British sound while maintaining a familiar distortion effect.

Try different settings and find the one you like.

If you leave it ON all the time just like a preamp, it works perfectly as a lead booster or as a pedal to turn down an amp that is too bright.

“BJFe does not make a large volume of the Purple Humper (PH).

Owners of this rare product say it is unlike any other mid-booster.

I am looking forward to seeing how One Control is accepted. I believe the world will understand the real value of the PH someday.”

─ Björn Juhl

The post Purple Humper appeared first on BearFoot FX.

BearFoot FX presents the BJF-designed
One Control Persian Green Screamer!

Demos

Hans Johansson

Mike Hermans

Jake Cloudchair

Hans Johansson

The post Persian Green Screamer appeared first on BearFoot FX.

BearFoot FX presents the BJF-designed
One Control Lemon Yellow Compressor!

Tone Report…Issue 139…”NOW PLAY THIS // Buzzworthy Gear” Section!

Demos

Sean Gibson

Mike Hermans

Jake Cloudchair

Bobby D

One Control Tourbox Reviews (The Gear Page)

GEAR USED (unknown)

“I like the Lemon Yellow Compressor, and I used the gain control as my only form of drive for the leads. It has clean, snappy attack, which brings out each track I used it on.”  (USA, July 2016)

GEAR USED: PRS S2 Custom 22 Semi-Hollow into both an Archon and Princeton

“…Now I have never owned a compressor pedal before as I tend to not really see it being worth the money or board space for my style of playing. That may have to change now. I tried the pedal in both settings but kept coming back to the sustain mode with a higher gain setting and a relatively high ratio. Something about just brought my clean tone to life through the Archon, which already has a fabulous clean tone. It presented my tone with new character that was both inspiring and surprising as I thought this would be yet another compressor that I struggle to dial in and quickly put back I the box.”  (USA, September 2016)

GEAR USED (unknown)

“I loved this one. It reminds me of a Rothwell Love Squeeze I used to own but more portable. I don’t use too much compression these days. Actually, I really like my Xotic SP Compressor, but I always keep it in the Low setting. The LYC kinds of sounds like the Xotic, with one exception: The Xotic brightens up the tone, even with a low blend. The LYC pretty music retains the tonal character already given. It’s just a matter of what your taste is.

Besides that tonal difference, I would say the LYC generates a tiny bit more noise, even when the Xotic’s blend is at 100%. The Sustain mode reminds me of the Xotic blended at around 9 o’clock, with the Low setting. I actually dig the fact that the SP Comp makes my tone brighter (as it is a little dark), but I wouldn’t mind having a LYC around.”  (USA, September 2016)

The post Lemon Yellow Compressor appeared first on BearFoot FX.