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Made in Brazil in late 80s under official license from Roland Japan. It is a Boss HM-2 in a different enclosure.

A reissue of the old classic 1971 Colorsound Overdriver, still distributed by Macari’s of London, and hand made by Jake Rothman/Theremin.co.uk at the time I write this (2007). The Overdriver is a bass and treble boost/overdrive pedal that works great with tube amps. It sounds almost like a little amp in a box, and it is LOUD. David Gilmour of Pink Floyd used the old orange Power Boost version throughout the 1970’s on such tracks as Shine On You Crazy Diamond, Have A Cigar, Pigs and many other mid to late late 1970s Pink Floyd songs. He also used it on the 1977 Pink Floyd tour for that incredible power boosted Big Muff lead sound, and used the Overdriver version in the 1990’s. Jan Akkerman of Focus, Marc Bolan of T Rex, and Jeff Beck were other users of this pedal. The Overdriver is a piece of british fuzz history.

The Overdriver circuit is almost identical to the original 18v Colorsound Power Boost released circa 1969-70, but includes a master volume knob, and a bit less headroom and more gain when the drive is set to maximum on the example I own. There were three slightly different schematics for the PB/Overdriver, so some vintage units will sound slightly different from others. The Overdriver gives a very transparent and super clean boost that sounds very dynamic and open. The bass and treble controls give a wide range of tonal options, including a full-on treble boost, and overall it has a very unique overdrive sound that you won’t find in many modern drive pedals. It can make any tube amp have a more hi-fi sound just using the clean setting. The drive control really does not do much, but when you get to the last 10%, the doors open wide. A very nice vintage Fuzz Face type overdrive blasts in. Nothing quite like it. It is great for vintage ’70s rock. At low drive settings the Overdriver opens up the tone of an amp, lightly or heavily coloring the sound (depending on settings), making it a great “always-on” pedal, although it does not necessarily improve the tone of all amps.

Set the Colorsound Overdriver for a light drive and place it before or (or after, depending on settings) a Fuzz Face or Big Muff pedal. This creates a really nice late 1970’s David Gilmour fuzz tone, especially through a Hiwatt amp like the Custom 50 or Custom 100. I use the Overdriver for much of the light overdrive tones and some fuzz tones for Dark Side of the Moon and Wish You Were Here, and as a light boost after my fuzz pedals like the Analogman Sunface BC108 Silicon fuzz. I have also found the Overdriver in conjunction with a Big Muff is a great combo to recreate the huge distortion tones David Gilmour used for Pink Floyd’s 1977 Animals/In the Flesh tour, and on the 1978 Columbia Records promotional videos David made for his first solo record. It was also possibly used on the record itself. The dry treble and fuzz from the Colorsound is very distinct when used with the Big Muff in this way. I also leave the pedal on all the time with a very light drive setting, a trick I learned from Gilmourish.com It really makes my Fender tube amps sound better. Gilmour used several other overdrive pedals throughout the years, with the BK Butler Tube Driver being on of his favorites, but nothing has quite that same early Pink Floyd overdrive tone like the Power Boost/Overdriver. You can also find less expensive clones like the Throbak Overdrive Boost. A Boss BD-2 Blues Driver also gets in a similar tone territory.

The Overdriver runs on 9v batteries (an AC adaptor version was also made), and sounds best with non alkaline type. The only real drawback to the Overdriver, other than the high cost, is that even with the master volume set to zero, the minimum volume level is higher than a typical untiy volume level when the drive knob is set high enough for a heavy orverdrive. The circuit does not allow the volume to go down to a unity level, or even to zero. At high drive settings this makes it almost impossible to use on a modern pedal board with other pedals at unity volume, because with any high drive level, the Overdriver will be louder than everything else when switched on. Placing the pedal in a bypass loop with a volume pedal before it is one way to overcome this. The Overdriver is housed the the classic pressed metal Colorsound case (22cm x 9.6cm), with a nice vintage hammerite finish. The bottom of the case pops off for access to the battery.

No-compromise fuzz, featuring clean boost, overdrive, and distortion.

The Fulltone CT-1 Catalyst Guitar Pedal is equipped with a simple circuit that uses only discrete FET's to achieve its throaty roar. But the Catalyst stompbox brings something more to the table because it to does things that many other fuzz pedals can't.

With its mini-toggle switch set to "Spark," the Catalyst effect pedal offers clean boosts, sweeter overdrives and all sorts of distortion sounds. Want more? Flip the switch to "Flame" and you'll be treated to a host of less civil overdrives, unique distortion voicings, and a plethora of vicious Fuzz sounds, all of which clean up with a twist of your guitar's volume knob, with a linear transition from clean to mean.

To further enhance your tonal control, the Catalyst guitar pedal offers a pair of very effective low-loss tone controls that set it apart from the masses. Standard tone stacks often end up cutting so much gain that the effect designer has to make up for this loss later in the circuit, and many times you loose some of the magic in the process. Not so here because the Fulltone CT-1 Catalyst pedal's low-loss Bass/Mids knob dials out the flubby low-end, with the added bonus of supplying varying amounts of rich midrange when the Bass/Mids knob passes the 3 o'clock mark.

This midrange, on top of an already wildly distorted tone, has the effect of increasing sustain to insane proportions as well as breaking you out of the standard super bright/super bassy Fuzz mold. Need to smooth out the highs? Simply turn down the Treble mini-knob-a low-loss hi-end roll-off-allowing you to shave off as much of the treble as necessary.

Finally, many Fuzz pedals can have wacky input and output impedances, making it difficult to match-up successfully with wah-wah pedals and non-true-bypass buffered pedals. The Fulltone CT-1 Catalyst has none of these issues, sporting a friendly 1-meg input impedance and an astonishingly low 10K output impedance. When's the last time you had a fuzz work with a vibe or wah-wah? Things have changed, indeed.

No-compromise fuzz, featuring clean boost, overdrive, and distortion.

The Fulltone CT-1 Catalyst Guitar Pedal is equipped with a simple circuit that uses only discrete FET's to achieve its throaty roar. But the Catalyst stompbox brings something more to the table because it to does things that many other fuzz pedals can't.

With its mini-toggle switch set to "Spark," the Catalyst effect pedal offers clean boosts, sweeter overdrives and all sorts of distortion sounds. Want more? Flip the switch to "Flame" and you'll be treated to a host of less civil overdrives, unique distortion voicings, and a plethora of vicious Fuzz sounds, all of which clean up with a twist of your guitar's volume knob, with a linear transition from clean to mean.

To further enhance your tonal control, the Catalyst guitar pedal offers a pair of very effective low-loss tone controls that set it apart from the masses. Standard tone stacks often end up cutting so much gain that the effect designer has to make up for this loss later in the circuit, and many times you loose some of the magic in the process. Not so here because the Fulltone CT-1 Catalyst pedal's low-loss Bass/Mids knob dials out the flubby low-end, with the added bonus of supplying varying amounts of rich midrange when the Bass/Mids knob passes the 3 o'clock mark.

This midrange, on top of an already wildly distorted tone, has the effect of increasing sustain to insane proportions as well as breaking you out of the standard super bright/super bassy Fuzz mold. Need to smooth out the highs? Simply turn down the Treble mini-knob-a low-loss hi-end roll-off-allowing you to shave off as much of the treble as necessary.

Finally, many Fuzz pedals can have wacky input and output impedances, making it difficult to match-up successfully with wah-wah pedals and non-true-bypass buffered pedals. The Fulltone CT-1 Catalyst has none of these issues, sporting a friendly 1-meg input impedance and an astonishingly low 10K output impedance. When's the last time you had a fuzz work with a vibe or wah-wah? Things have changed, indeed.

The sound of the original cult classic fuzzer is back by popular demand. Now you can get the same huge sound as the Harmonic Transformer in a smaller 2.5" x 4.75", pedalboard-friendly pedal. Inter-modulate your sound and unleash ringing, raging fuzz on the world. Super big, super vicious, and super intense, the Micro Harmonic Transformer is complete with enough alien noises to freak out your listeners. This is an extremely loud and intense fuzz pedal which is highly interactive with the incoming signal. Take it to the max!

The sound of the original cult classic fuzzer is back by popular demand. Now you can get the same huge sound as the Harmonic Transformer in a smaller 2.5" x 4.75", pedalboard-friendly pedal. Inter-modulate your sound and unleash ringing, raging fuzz on the world. Super big, super vicious, and super intense, the Micro Harmonic Transformer is complete with enough alien noises to freak out your listeners. This is an extremely loud and intense fuzz pedal which is highly interactive with the incoming signal. Take it to the max!

While the Western world was preoccupied with its Fuzz Faces, Tone Benders and others, the Eastern world was bubbling up with plenty of fuzzes of its own. This very distinct era in fuzz history gave us many treasures that have been crowned fuzz legends—the Univox Super Fuzz, Ibanez Standard Fuzz, Ace Tone Fuzz Master, Shin-Ei Companion and several others.

Our 76 offers up a comprehensive guided tour to the best that the Standard Fuzz and its ilk has to offer without any of the drawbacks, such as a quiet signal or fragile wiring. On its face, the 76 gives you a multi-voiced germanium-equipped fuzz unit that gives you hints of octave-up snarl while it ruthlessly pummels your amp with hair and fangs.

Aside from standard volume and fuzz controls, and unlike the original Standard Fuzz, the 76 also gives you a texture control that sweeps the midrange, effectively giving you many flavors of fuzz across several positions. A three-way color switch offers a little frequency scoop, but the center position is off, for full-frequency fuzz madness.

The internals contain two DIP switches that alter the character of the unit. The first, clip, changes the clipping stack from the stock Standard Fuzz arrangement of two germaniums into a hybrid germanium-silicon arrangement. Engaging this switch opens the sound up, increases crunch and definition for a searing lead tone.

The other switch, Dark, engages a treble cut on the input, which helps to prep the incoming signal for the fuzz onslaught. This switch should be engaged if the 76 follows a bright dirt pedal or a jangly set of pickups.

The new Standard Fuzz is here and is a forced to be reckoned with, leveling audiences with its punishing buzzsaw grind and unbridled harmonics. The 76 is your favorite fuzz nerd’s favorite fuzz.

Bluesy overdrive that'll bring out the best in your tone and your playing.

The all new Keeley Katana Blues Drive is a musically rich and dynamic overdrive for the most discriminating guitar player. After more than a decade of building great guitar tone from the ground up, Keeley has crafted an overdrive that is destined to be a classic. It's about tone and feel. The Katana Blues Drive captures the best elements of tubes with a transparency that allows your guitar's full tonal range to shine through while at the same time delivering dynamics that are sensitive to the touch. This pedal cleans up perfectly, just roll your guitar volume back and let it shine.

Glass Tube Clarity
The Keeley Katana Blues Drive is our most expressive and musically inspirational overdrive pedal to date. Keeley has taken the legendary tube clarity of their best-selling Katana Boost's JFET stages and blended them together with a unique overdrive circuit that's been influenced by their award-winning overdrive pedal modifications.

Inspiration
With active tone controls and layered overdrive tones, the Katana Blues Drive feels rich and thick yet lets your guitar tone come through. Over 13 years in the making, they've taken every ounce of feedback from customers to deliver an overdrive they are extremely proud of. The Katana Blues Drive was built for your inspiration. You know when a piece of gear inspires and your tone is dialed just right, your playing becomes free and full of energy. Ideas flow. Magic happens.

Bluesy overdrive that'll bring out the best in your tone and your playing.

The all new Keeley Katana Blues Drive is a musically rich and dynamic overdrive for the most discriminating guitar player. After more than a decade of building great guitar tone from the ground up, Keeley has crafted an overdrive that is destined to be a classic. It's about tone and feel. The Katana Blues Drive captures the best elements of tubes with a transparency that allows your guitar's full tonal range to shine through while at the same time delivering dynamics that are sensitive to the touch. This pedal cleans up perfectly, just roll your guitar volume back and let it shine.

Glass Tube Clarity
The Keeley Katana Blues Drive is our most expressive and musically inspirational overdrive pedal to date. Keeley has taken the legendary tube clarity of their best-selling Katana Boost's JFET stages and blended them together with a unique overdrive circuit that's been influenced by their award-winning overdrive pedal modifications.

Inspiration
With active tone controls and layered overdrive tones, the Katana Blues Drive feels rich and thick yet lets your guitar tone come through. Over 13 years in the making, they've taken every ounce of feedback from customers to deliver an overdrive they are extremely proud of. The Katana Blues Drive was built for your inspiration. You know when a piece of gear inspires and your tone is dialed just right, your playing becomes free and full of energy. Ideas flow. Magic happens.

The alluring design and full length covers of the Golden Melody are not all that this iconic harp has to offer. It’s the only diatonic model tuned to equal temperament, making it a favorite with jazz harpists who need to play in tune with other instruments in all positions. The beautiful pure tone sets it apart and makes it the ideal harmonica for single note solo playing. If you want to touch the hearts of your listeners and explore your potential as a soloist, our dream machine will set you on the right path.

The Plan-9 66 Bender Ge recreates the 1966 Vox Tone Bender fuzz pedal, as used by The Beatles, The Yardbirds, Cream and Bowie´s guitarist Mick Ronson from The Spiders from Mars.

Mods:

As with all Plan-9 recreations, in the 66 Bender project we compromised to make only mods that doesn´t impede the obtaining of the original tones: an input impedance mod improve the 66 Bender interaction with wah pedals when these are situated before the fuzz (an old Vox problem). We also inserted an stabilization system to block germanium transistor gain variation when temperature is too hot or too cold. The 66 Bender circuit also has a an inverted polarity protection to save the rare transistors in the case of wrong power supply connection.

Transistors:

The excellence of our germanium pedals is indebted both to the use of the best transistors available and to intensive testing. We select each transistor considering leakage and gain parameters. Then we discard the bad transistors (70% to 40% of the batch). Before being soldered on the definitive pedal circuit, the selected transistors are also tested in a prototype board especially designed for real playing tests - only if they sound good they go to the real 66 Bender Ge board.

The original Vox Tone Bender in the 1966 version had two germanium transistors, a SFT363E and a Mullard OC76, both very rare nowadays. Researching, we realized that the original Vox TB tones could be recreated with just the OC76 (as it sits in the circuit position that is responsible for the main tones) together with another high quality transistor.

The results were remarkably good. The Plan-9 66 Bender Ge has an excellent response to picking dynamics, the fuzz cleanses up when the guitar volume control is reduced, and it is harmonically rich and complex. It generates wonderful feedbacks in high volumes, and the single notes have a very sweet decay when abandoned in sustain.

Controls:

Fuzz: as the original Tone Bender Attack control it limits the fuzz intensity. Volume: limits the output signal intensity. Gain: this mod controls the amount of input gain, allowing lighter shades of fuzz or overdrive-fuzz tones. Bass Boost: increases bass response and give a moderate output boost. Bias trimmer: this internal control allows you to fine tune the pedal and reach different fuzz tones. Features:

True bypass 3PDT footswitch. External power supply jack and internal 9V battery snap. Hand wired circuit with off board mounting of jacks, switches and pots. Two selected and matched germanium transistors, being one a NOS Mullard OC76. Main germanium transistor is stabilized against temperature variation. Circuit protection against battery polarity inversion, and on/off noise Two Constanta potentiometers, big and tough, vintage style made in Brazil (eventually we can use CTS or Alpha). Heavy duty metal box with electrostatic painting. Detailed Operation Manual.

The Plan-9 Super Wild Fuzz Si recreates the Univox Super Fuzz, a powerful octave-fuzz marketed since 1968 and through the 70´s. The Super Fuzz was used by bands as The Who, The Cramps, Mudhoney and Dinosaur Jr, among others. It has huge gain, lots of compression and infinite sustain.

Mods:

We just performed mods that doesn´t affect the original tones. They include true bypass, a led, protection against polarity inversion, radio interference blocking, and on/off noise blocking.

Transistors and Diodes:

To reproduce correctly the Univox original tones, we use the same transistors, six 70s NOS 2SC828 Japanese (Matsushita) silicon transistors. First we select the transistors considering their gain. Then the transistors are matched in real playing tests, and just then they are ere soldered in the definitive pedal circuit.

The diodes are also an important component in the Super Wild Fuzz circuit and tones. We use two 70s NOS selected and matched OA90 germanium diodes.

Through these tests we are able to recreate the sound of the Univox Super Fuzz better sounding unities, rare and difficult to be found nowadays.

Controls:

Expander: controls the fuzz and sustain intensity Balance: limits the output signal intensity Tone: this key alternates medium tones and scooped medium tones. Features:

True bypass 3PDT foot switch. External power supply jack and internal 9V battery snap. Hand wired circuit with off board mounting of jacks, switches and pots. Six 70s NOS selected and matched 2SC828 Japanese (Yamashita) silicon transistors Two 70s NOS selected and matched OA90 germanium diodes Circuit protection against battery polarity inversion and hum. Two Constanta potentiometers, big and tough, vintage style made in Brazil (eventually we can use CTS or Alpha). Fender witch hat knobs. Heavy duty metal box with electrostatic painting. Detailed Operation Manual.

1972 Foxx Tone Machine

The Plan-9 Suppa Fuzz MKII Ge accurately recreates the circuit, spirit and tone of the 1968 Marshall Supa Fuzz, one of the best fuzz pedals ever built.

Mods:

We only performed mods that don´t impede the obtainment of the original tones. They include true bypass, a led, a noise filter and an inverted polarity protection. We also inserted a toggle switch that acts as a tone control.

Transistors:

The Plan-9 Suppa Fuzz MkII Ge is powered by two Philips OC75 black glass transistors and one metal Mullard OC76. This OC75 plus OC76 configuration was present in some early Marshall Supa Fuzz unities in the 60´s. The OC76 lower gain with two OC75 allows even a better tone than the three OC75 that we generally see in the vintage Marshall Supa Fuzz unities.

The excellence of our germanium pedals is indebted both to the use of the best transistors available and to intensive testing. We select each transistor considering leakage and gain parameters. Then we discard the bad transistors (70% to 40% of the batch). Before being soldered on the definitive pedal circuit, the selected transistors are also tested in a prototype board especially designed for real playing tests - only if they sound good they go to the real Suppa Fuzz board.

Controls:

Fuzz: the 'Filter' control in the original Supa Fuzz, it limits the fuzz intensity. Volume Hi/Lo toggle switch: this mod acts as a tone control, and varies between the original Marshall Supa Fuzz low tones, and the Sola Sound MKII based hi tones. Observe that in our pedal only the Supa Fuzz (lower) tones are historically correct. The hi tones aren´t the original MKII tones, only resemble them. Other components should be modified to obtain real MKII hi tones. We can´t offer everything in the same vintage pedal, and we won´t lie about it. Internal bias trimmer for bias adjustment Features:

True bypass 3PDT footswitch. External power supply jack and internal 9V battery snap. Hand wired circuit with off board mounting of jacks, switches and pots. Selected germanium NOS transistors: two Philips OC75 (black glass) and one OC76 British Mullard. Circuit protection against battery polarity inversion and hum. Two Constanta potentiometers, big and tough, vintage style made in Brazil (eventually we can use CTS or Alpha). Fender witch hat knobs. Heavy duty metal box with electrostatic painting. Detailed Operation Manual.

A highly textured fuzz based on the Shin Ei FY-2. A coarse and fun fuzz to play with a lot of character. Mainly suited to single note lines but will work for loud abrasive chords. Probably the most “Garage” ,“60’s “ fuzz I make.

Early fuzz boxes were designed to emulate the sounds of the saxophone. The Zippy will allow you to channel your inner Coltrane with very reedy fuzz tones. Saxy and sexy. At lower settings a nice musical razor blade fuzz sizzle.Turn it up and it becomes an increasingly sharper toothed saw blade fuzz. It snarls. It spits. It goes from fat and thick to thin and cutting without losing it's signature top end sizzle and low end rumble. The body control (bass cut) makes it easy to dial in just the right amount of beef. Zipper fuzz tones bloom and softly decay.

ThroBak guitar effects pedals offers another classic Signature Sound effect with the Strange Master Treble Booster, a recreation of the Germanium Dallas Rangemaster Treble Booster used by Eric Clapton, Brian May and Tony Iommi.

In keeping with our ThroBak Guitar effects pedals Signature Sound philosophy Strange Master treble booster offers user adjustments to shape the sound of this effect. Jimmy Page, Jimi Hendrix and Brian May had Roger Mayer and Peter Cornish customize their effects to create their own signature sound. We give this control to you.

As far as we can tell we are the only company offering a Dallas Range Master clone with a bias adjustment. This allows you to change the character of treble boost from loose to tight. Switchable range allows treble boost and mid boost germanium distortion. Recreate the Clapton Beano tone or the singing overdrive of Brian May to the growl of Tony Iommi with this pedal, its all in there.

Pandora is a versatile high gain fuzz pedal allowing you to dial in a variety of original tones ranging from warm fuzz to top-end rich sound and anything in between. By increasing the gain you can saturate the distortion and increase sustain. Open Pandora’s box of fuzz even more for a natural upper octave to become more prominent and fine-tune this chaos force with five simple controls. She will definitely make your riffs gnarly and powerful.