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The Blues Master, handmade in Kansas City, Missouri, USA is based on the Marshall BluesBreaker guitar pedal circuit, with an exciting secret I will explain later. One of the most popular guitar pedals. It was one of three Marshall guitar pedals introduced in 1991. The purpose of the BluesBreaker guitar pedal was to simulate the vacuum tube sound of the vintage 2×12 Marshall combo amp used by Eric Clapton in John Mayall’s Bluesbreakers band. The BluesBreaker was intended to add a nice breakup and a touch sensitive overdrive to a clean amplifier at lower volumes giving an illusion of a Marshall amp at high output levels. Despite all the good things, some people feel the output on the original was a bit low (but read on for the secret). Another big downside is that to buy a used original pedal now, on the market will cost you about $350-$500 dollars.

Frog’s BluesMaster uses the same circuit, but with a secret twist suggested to me by a certain Kansas City guitar pedal Guru! The secret is, that the original BluesBreaker effect circuit is paired up with an Electro Harmonix (EHX) LPB-1 clean boost circuit from 1969 on the output side. It pairs up well with a single coil or humbucker. With the gain turned down, it makes a nice clean boost, but you can set it on the edge of breakup and when you dig into the strings, it starts into a nice creamy breakup. Turn the gain up further and it breaks up earlier and can begin to provide distortion sounds.

The Blues Master, handmade in Kansas City, Missouri, USA is based on the Marshall BluesBreaker guitar pedal circuit, with an exciting secret I will explain later. One of the most popular guitar pedals. It was one of three Marshall guitar pedals introduced in 1991. The purpose of the BluesBreaker guitar pedal was to simulate the vacuum tube sound of the vintage 2×12 Marshall combo amp used by Eric Clapton in John Mayall’s Bluesbreakers band. The BluesBreaker was intended to add a nice breakup and a touch sensitive overdrive to a clean amplifier at lower volumes giving an illusion of a Marshall amp at high output levels. Despite all the good things, some people feel the output on the original was a bit low (but read on for the secret). Another big downside is that to buy a used original pedal now, on the market will cost you about $350-$500 dollars.

Frog’s BluesMaster uses the same circuit, but with a secret twist suggested to me by a certain Kansas City guitar pedal Guru! The secret is, that the original BluesBreaker effect circuit is paired up with an Electro Harmonix (EHX) LPB-1 clean boost circuit from 1969 on the output side. It pairs up well with a single coil or humbucker. With the gain turned down, it makes a nice clean boost, but you can set it on the edge of breakup and when you dig into the strings, it starts into a nice creamy breakup. Turn the gain up further and it breaks up earlier and can begin to provide distortion sounds.

The Blues Master, handmade in Kansas City, Missouri, USA is based on the Marshall BluesBreaker guitar pedal circuit, with an exciting secret I will explain later. One of the most popular guitar pedals. It was one of three Marshall guitar pedals introduced in 1991. The purpose of the BluesBreaker guitar pedal was to simulate the vacuum tube sound of the vintage 2×12 Marshall combo amp used by Eric Clapton in John Mayall’s Bluesbreakers band. The BluesBreaker was intended to add a nice breakup and a touch sensitive overdrive to a clean amplifier at lower volumes giving an illusion of a Marshall amp at high output levels. Despite all the good things, some people feel the output on the original was a bit low (but read on for the secret). Another big downside is that to buy a used original pedal now, on the market will cost you about $350-$500 dollars.

Frog’s BluesMaster uses the same circuit, but with a secret twist suggested to me by a certain Kansas City guitar pedal Guru! The secret is, that the original BluesBreaker effect circuit is paired up with an Electro Harmonix (EHX) LPB-1 clean boost circuit from 1969 on the output side. It pairs up well with a single coil or humbucker. With the gain turned down, it makes a nice clean boost, but you can set it on the edge of breakup and when you dig into the strings, it starts into a nice creamy breakup. Turn the gain up further and it breaks up earlier and can begin to provide distortion sounds.

Fusing classic Fender design with player-centric features and exciting new finishes, the Player Plus Nashville Telecaster® delivers superb playability and unmistakable style.

Powered by a set of Player Plus Noiseless pickups, the Player Plus Nashville Tele® delivers warm, sweet Tele® twang – as well as Strat® in-between tones – without hum. A push-pull switch on the tone control engages the neck pickup in switch positions 1 & 2 for two additional tones. The silky satin Modern “C” Player Plus Tele® neck fits your hand like a glove, with smooth rolled edges for supreme comfort. The 12” radius fingerboard and 22 medium jumbo frets facilitate fluid leads and choke free bends. A modern 6-saddle Tele bridge with block steel saddles adds a touch of brightness while providing precise intonation and the locking tuners provide rock-solid tuning and make string changes quick and easy.

With classic Fender style, advanced features and stunning new finishes, the Player Plus Nashville Telecaster is the perfect tool to spark your creativity and stand out from the crowd.

Fusing classic Fender® design with player-centric features and exciting new finishes, the Player Plus Telecaster® delivers superb playability and unmistakable style. Powered by a set of Player Plus Noiseless™ pickups, the Player Plus Tele® delivers warm, sweet Tele® twang – without hum. A push-pull switch on the tone control engages both pickups in series operation, delivering increased output and body. The silky satin Modern “C” Player Plus Tele® neck fits your hand like a glove, with smooth rolled edges for supreme comfort. The 12” radius fingerboard and 22 medium jumbo frets facilitate fluid leads and choke free bends. A modern 6-saddle Tele bridge with block steel saddles adds a touch of brightness while providing precise intonation and the locking tuners provide rock-solid tuning and make string changes quick and easy. With classic Fender style, advanced features and stunning new finishes, the Player Plus Telecaster is the perfect tool to spark your creativity and stand out from the crowd.

Fusing classic Fender design with player-centric features and exciting new finishes, the Player Plus Stratocaster HSS delivers superb playability and unmistakable style. The powerful Player Plus humbucking pickup delivers the perfect balance of gain and definition, while the Player Plus Noiseless Strat® pickups are bright and touch sensitive, offering classic Strat tone without hum. A push-pull tone controls activate coil-split mode for the humbucking pickup, delivering crystal-clear single-coil tones. The silky satin Modern “C” Player Plus Strat® neck fits your hand like a glove, with smooth rolled edges for supreme comfort. The 12” radius fingerboard and 22 medium jumbo frets facilitate fluid leads and choke free bends. Smooth and responsive, the 2-point tremolo provides classic vibrato effects, while the locking tuners provide rock-solid tuning and make string changes quick and easy. With classic Fender style, advanced features and stunning new finishes, the Player Plus Stratocaster HSS is the perfect tool to spark your creativity and stand out from the crowd.

Fusing classic Fender® design with player-centric features and exciting new finishes, the Player Plus Stratocaster® delivers superb playability and unmistakable style.

At the heart of this Strat® is a trio of Player Plus Noiseless™ pickups – bright and touch sensitive, they offer classic Strat tone without hum. A push-pull pot on the tone control adds the neck pickup to switch positions 1 and 2 for two sounds not usually found on a Strat®. The silky satin Modern “C” Player Plus Strat® neck fits your hand like a glove, with smooth rolled edges for supreme comfort. The 12” radius fingerboard and 22 medium jumbo frets facilitate fluid leads and choke free bends. Smooth and responsive, the 2-point tremolo provides classic vibrato effects, while the locking tuners provide rock-solid tuning and make string changes quick and easy.

With classic Fender style, advanced features and stunning new finishes, the Player Plus Stratocaster is the perfect tool to spark your creativity and stand out from the crowd.

Powered by a set of Player Plus Noiseless Jazz Bass pickups, the Player Plus Jazz Bass® V delivers the clarity and growl that defines Fender bass tone. A 3-band active EQ affords precise tone shaping with a toggle to switch between active or passive mode for ultimate flexibility. The Player Plus Jazz Bass V neck is sleek, fast, and smooth thanks to its silky satin finish, comfortable rolled edges on a 12” radius fingerboard, and modern “C” back-shape. A rock solid HiMass™ bridge provides sustain, resonance, and perfect intonation. With classic Fender style, advanced features and stunning new finishes, the Player Plus Jazz Bass V is the perfect tool to spark your creativity and stand out from the crowd.

Powered by a set of Player Plus Noiseless™ Jazz Bass pickups, the Player Plus Jazz Bass® delivers the clarity and growl that defines Fender® bass tone. A 3-band active EQ affords precise tone shaping with a toggle to switch between active or passive mode for ultimate flexibility. The Player Plus Jazz Bass neck is sleek, fast, and smooth thanks to its silky satin finish, comfortable rolled edges on a 12” radius fingerboard, and modern “C” back-shape. A rock solid HiMass™ bridge provides sustain, resonance, and perfect intonation. With classic Fender style, advanced features and stunning new finishes, the Player Plus Jazz Bass is the perfect tool to spark your creativity and stand out from the crowd.

Powered by a Player Plus PJ pickup set, the Player Plus Precision Bass® delivers the punch and growl that defines Fender bass tone. A 3-band active EQ provides precise tone shaping with switchable active/passive operation for ultimate flexibility. The Player Plus Precision Bass neck is sleek, fast, and smooth thanks to its silky satin finish, comfortable rolled edges on a 12” inch radius fingerboard, and modern “C” backshape. A rock solid HiMass™ bridge provides sustain, resonance, and perfect intonation. With classic Fender style, advanced features and stunning new finishes, the Player Plus Precision Bass is the perfect tool to spark your creativity and stand out from the crowd.

Provides true high-fidelity compression and limiting in a compact pedal.

The Keeley Compressor GC-2 Limiting Amplifier is built around the exotic and extremely high fidelity THAT Corp. 4320. Think of it as a very musical studio-grade compressor in stomp box format It uses high performance Voltage Controlled Amplifiers, on board true-RMS detector, and ultra high performance op-amps to bring you the very best quality. This type of compressor gives you precise control and very musical results. This along with a full frequency range means that this compressor is well suited for guitar, keyboards, drum machines, really, anything you can throw at it. The Keeley GC-2 Limiting Amplifier is both musical and very transparent. Where Keeley's older compressors were based on the CA3080 or the LM13700 and are perfect for that "Compressor Effect", the new Keeley GC-2 is a different style compressor, aimed at being the ultimate in low noise and transparency. Not only can it handle astonishingly large signals, it has an incredible bandwidth of over 20 KHz. No detail in your guitar's tone will be lost. The Keeley GC-2 will be a sound investment in your tone, you now have genuine rack-mount quality at your feet.

Compression and Threshold
When musicians use the new Keeley Compressor - GC-2 they will be greeted with a sound that is more easily amplified and heard. Using the effect as a limiting amplifier saves your speakers from clipping and distortion. Set the Threshold to look for peaks in your signal and limit distortion from your amplifier or damage to your speakers. Simply watch the Threshold Indicator light to see what type of playing you want to limit, it's that easy! Next set the Compression Ratio Control to determine how much squash you want when the signal is above Threshold. Set Compression all of the way down for no (1:1) compression and use the Gain control as a boost! Set Compression all of the way up for an above-Threshold hard-knee limiter.

Attack and Release
There is a certain figure that just sounds good as far as compression goes; and that's 125 dB/second. With feed forward compressors that use this type of true-RMS detector you use a single time constant parameter. The timing capacitor gives you attack and release times that are adaptive to your playing level or the signal input to the compressor. Bottom line: Attack and Release times vary on program content. Attack times are generally speaking, about 100 times faster than release times.

Tone Control and Blend
None - You don't need a tone control or a blend control on a compressor. In fact, it's not a good idea in our opinion. If you want a blend control, you are undoing your compressor. Instead, set the Threshold high and only let peaks be processed and then set the Compression Ratio to 2:1 or 4:1. Much smarter. Tone control? None here. It has tone for days, and there is no need to add treble response back into the mix. It's ultra slick, feed-forward compression design helps maintain high-end treble response like no other design. Lastly, Tone Controls and Blend Controls can only add noise in a compressor.

Provides true high-fidelity compression and limiting in a compact pedal.

The Keeley Compressor GC-2 Limiting Amplifier is built around the exotic and extremely high fidelity THAT Corp. 4320. Think of it as a very musical studio-grade compressor in stomp box format It uses high performance Voltage Controlled Amplifiers, on board true-RMS detector, and ultra high performance op-amps to bring you the very best quality. This type of compressor gives you precise control and very musical results. This along with a full frequency range means that this compressor is well suited for guitar, keyboards, drum machines, really, anything you can throw at it. The Keeley GC-2 Limiting Amplifier is both musical and very transparent. Where Keeley's older compressors were based on the CA3080 or the LM13700 and are perfect for that "Compressor Effect", the new Keeley GC-2 is a different style compressor, aimed at being the ultimate in low noise and transparency. Not only can it handle astonishingly large signals, it has an incredible bandwidth of over 20 KHz. No detail in your guitar's tone will be lost. The Keeley GC-2 will be a sound investment in your tone, you now have genuine rack-mount quality at your feet.

Compression and Threshold
When musicians use the new Keeley Compressor - GC-2 they will be greeted with a sound that is more easily amplified and heard. Using the effect as a limiting amplifier saves your speakers from clipping and distortion. Set the Threshold to look for peaks in your signal and limit distortion from your amplifier or damage to your speakers. Simply watch the Threshold Indicator light to see what type of playing you want to limit, it's that easy! Next set the Compression Ratio Control to determine how much squash you want when the signal is above Threshold. Set Compression all of the way down for no (1:1) compression and use the Gain control as a boost! Set Compression all of the way up for an above-Threshold hard-knee limiter.

Attack and Release
There is a certain figure that just sounds good as far as compression goes; and that's 125 dB/second. With feed forward compressors that use this type of true-RMS detector you use a single time constant parameter. The timing capacitor gives you attack and release times that are adaptive to your playing level or the signal input to the compressor. Bottom line: Attack and Release times vary on program content. Attack times are generally speaking, about 100 times faster than release times.

Tone Control and Blend
None - You don't need a tone control or a blend control on a compressor. In fact, it's not a good idea in our opinion. If you want a blend control, you are undoing your compressor. Instead, set the Threshold high and only let peaks be processed and then set the Compression Ratio to 2:1 or 4:1. Much smarter. Tone control? None here. It has tone for days, and there is no need to add treble response back into the mix. It's ultra slick, feed-forward compression design helps maintain high-end treble response like no other design. Lastly, Tone Controls and Blend Controls can only add noise in a compressor.