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Meet the KALI® PRE-AMP / DISTORTION – the next evolution in Fortin tone.

Hot off the heels of the game-changing NATAS® and MESHUGGAH pedals, KALI® is the third installment in our preamp series, bringing the fire of our legendary amps straight to your pedalboard.

Inspired by the iconic Fortin® CALI® Amp - born from Mike Fortin’s deep roots in amp modding (and a nod to Jose Arredondo’s revolutionary work), KALI® captures everything from vintage Plexi sparkle all the way to full-throttle modern metal mayhem.

This pedal doesn’t just bring the thunder - it defines it. With switchable gain modes (VINT, SAT, RAW), a three-position bright switch for each gain control, and an active 3-band EQ, KALI® puts a universe of tones at your feet. With the addition of an extra stomp for even more gain, you've got a tool that outclasses every M-style preamp out there.

KALI® - A vintage foundation honoring decades of design with modern enhancement. Be unlimited

• Made in U.S.A.

• 3 Band Active EQ

• Pre-Amp or Dirt Pedal

• Based on the Fortin CALI® Amp

What are you looking for?

Lost + Found is our first true multi-effect, a little museum of the rare and strange for you to wander around.

Tour through 12 modes that can be blended in countless ways, a full spectrum of textures inspired by the effects that have captivated and perplexed us over the years.

Want to become a phasing resonator? Okay. How about a distant synth, or swelling octaves melting in the sun? We can do that. A bit of whatever you need, and a whole bunch you’re not expecting.

Special spices

Lost + Found is not bread + butter.

We set out to create a multi-effect that would bring new energy to your music, while still offering a little something for every occasion. A complete set of special spices.

Use it to shake up your sound, as a creative starting point into the world of effects, or as a fresh start.

Discover

Explore a refreshing set of modes inspired by vintage oddities, rare effect types, and a few familiar favorites to tie it all together.

Blend

Within Lost + Found are 144 possible effect combinations. Create phasing choruses, stacked synths, ratcheting reverbs, and heaps more.

Glue

Lost + Found contains a bonus compressor/saturator at the end of the chain. Use it to give your sound a nice finished quality right out of the box, or to blow things apart.

Small Batch Bliss.

Small run — for everyone! Lost + Found is the second pedal in our Small Batch Bliss collection.

The idea is simple: A made-to-order line of special edition pedals, and everyone who wants one can get one. There is no limit or selling out — simply order within the month-long preorder period and we’ll make a pedal just for you.

The Talisman Ghost expands on our original Talisman pedal by simulating two EMT 140 plates in modulated tandem, adding a chorus-like effect to the reverb trail.

Here at Catalinbread, we are big on creating devices that serve as exacting models of vintage equipment, but part of reimagining old technology is stepping outside the boundaries of possibility. Sometimes, that can look like dramatically increasing the decay of a spring reverb to simulate springs far larger than those found in amps, other times it can look like a room reverb if the room were an infinite number of square feet. In the plate reverb realm, our Talisman already pushed the boundaries of what a real EMT 140 could sound. In that pedal, we expanded on an EMT 140’s impetus, a giant sheet of metal suspended in a frame with springs and clamps, adding a handful of tasteful appointments designed to create controls where once were none.

Our Talisman Ghost takes a step outside of even that framework to answer the question: what would happen if you configured two EMT 140 plate units to work in modulated tandem? The result is a luscious chorus-like effect, applied only to the reverb trail. This ground-up reimagining took a careful look at the diffusion characteristics of a real EMT 140, bolstered by the luxury of having a second 600-pound behemoth running in parallel, which most studios did not.

This tasteful modulation dramatically opens up the spatial effect of the reverb by giving you the sound of two plates co mingling with one another in satisfying ways. This serves up a slick post-process doubling effect that lends a sense of dynamics to a normally static reverb decay.

Dial in responsive, tube-like drive tones with the Hammertone® Breakup Drive. The perfect contender for an always-on pedal, this JFET based overdrive is designed with one focus in mind: replicating the dynamic response of hot tubes right at the edge of saturation. Two selectable clipping modes tailor the drive’s character between light breakup and medium-gain overdrive, each supplying an expressive response that cleans up with lighter picking and breaks up more the harder you strum. An expansive tone control and switchable pre-gain mid boost provide powerful frequency shaping tools to hone your final tone. From flavoring your core clean tone to delivering dynamic overdrive on tap, the Hammertone Breakup Drive has you covered.

Features: - Two selectable JFET based dynamic clipping stages - Interactive tone control provides a wide range of EQ flavors - Mids switch selects between flat response and pre-drive mid boost - Soft-touch relay true bypass with auto bypass when no power is present - Top mounted jacks and road-ready aluminum enclosure - Powered by 9-Volt Battery or Center Negative AC Adaptor, Not Included

Your new Reverb. Your new inspiration.

Nucleo Reverb isn’t just another reverb pedal – it’s the key to a universe of sonic landscapes. With epic 90-second decay, 3 onboard presets (plus 128 via MIDI), freeze and freeze-pitch modes, the Nucleo turns every note into an evolving, cinematic texture.

From granular atmospheres to shimmer reverbs and versatile modulation types, every sound was refined in collaboration with Paul Davids to spark creativity at every step.

Add deep MIDI integration, USB audio, and intuitive controls – and you’ll discover a reverb built to inspire.

The Xero Polylooper is a true bypass, dual-channel looping powerhouse with independent loop control on each channel, stereo panning, variable playback speed, reverse playback, three looping modes, and intuitive stomp gestures. The Xero is your new partner for perpetually endless ways to create new song ideas, practice your licks, or build endless textures on stage.

Two Loop Channels, Fully Independent Control

Xero gives you two independent loop channels—each with its own:

Loop up to 3 minutes with near infinite stacking of loops Unlimited overdubs Volume and Pan controls Playback speed (0.5x / 1x / 2x) Reverse playback option You can loop on each channel individually or stack them together to build complex, layered compositions—all in real time.

Play Naturally. Control Effortlessly.

The Xero's dual stomp switches keep loop control fast and intuitive:

Tap the left stomp switch to record and playback loops Hold the left stomp to undo Tap the right stomp switch to stop loop playback Hold the right stomp for speed FX Double-press both switches to toggle channel control Double-hold to trigger full stop or full erase With built-in gestures, you stay in control without menu-diving or complex tap dances. Need even more control? Plug in an external dual-stomp switch to simultaneously take full command of both channels—perfect for live performers and loop-centric setups.

Looping Modes Built for Any Workflow

Switch between three flexible loop sync modes:

Sync Mode – Keeps all loops time-aligned to the first recorded loop Unsynced Mode – Let each channel record loops of completely independent lengths Poly Mode – Create polyrhythms using shared time divisions (3:4, 5:7, etc.) for interlocking textures (Supports MIDI clock for precision syncing) Visual Feedback That Keeps You Locked In

Each channel has its own multicolor LED system showing:

Red, Green, and White for recording and playback controls Cyan, Pink, Yellow, and Blue LEDs for different speed effects Channel Control Status via dedicated red LEDs Instantly know what's happening—no guesswork needed, even mid-performance.

Speed FX & Direction Controls

Want to flip your loop upside down or twist it in time? Activate Speed FX to unlock:

Half / Normal / Double speed Reverse playback - Each channel’s playback behavior can be manipulated independently, letting you remix on the fly. FX activation syncs to loop start in Sync and Poly modes, ensuring accurate timing Bypass That Listens

The Xero features true relay bypass—when no loops are active, the pedal automatically disengages, keeping your tone completely untouched.

Stereo. MIDI. USB. Ready to Integrate.

1/8” MIDI IN/THRU (Type A) for clock sync and remote control USB-C for easy firmware updates via walrusaudio.io Stereo in/out with full panning control on each channel Compatible with Chrome on Mac or Windows for web-based updates Breakdown of Control Layout Channel 1

Pan 1: Stereo balance for loop playback Vol 1: Channel output volume with +3dB of headroom Speed: 0.5x / 1x / 2x playback speed (when Speed FX is active) Direction: Forward or reverse loop playback Channel 2

Pan 2: Independent stereo placement Vol 2: Channel 2 volume with +3dB boost Speed: 0.5x / 1x / 2x playback Direction: Forward or reverse loop playback External Dual Stomp Compatibility

• Breakout and expand stomp controls and add quicker access to secondary features with a TRS dual foot switch

MIDI Integration

Accepts 1/8” TRS MIDI IN (Type A) Sends MIDI THRU to downstream devices Supports full MIDI CC control for looping, playback, speed FX, and more Firmware Updates

• Via USB-C using the Chrome browser on Mac or Windows

• Visit walrusaudio.io to check for the latest firmware releases

The Xero Polylooper is a true bypass, dual-channel looping powerhouse with independent loop control on each channel, stereo panning, variable playback speed, reverse playback, three looping modes, and intuitive stomp gestures. The Xero is your new partner for perpetually endless ways to create new song ideas, practice your licks, or build endless textures on stage.

Two Loop Channels, Fully Independent Control

Xero gives you two independent loop channels—each with its own:

• Loop up to 3 minutes with near infinite stacking of loops
• Unlimited overdubs
• Volume and Pan controls
• Playback speed (0.5x / 1x / 2x)
• Reverse playback option
• You can loop on each channel individually or stack them together to build complex, layered compositions—all in real time.

Play Naturally. Control Effortlessly.

The Xero's dual stomp switches keep loop control fast and intuitive:

• Tap the left stomp switch to record and playback loops
• Hold the left stomp to undo
• Tap the right stomp switch to stop loop playback
• Hold the right stomp for speed FX
• Double-press both switches to toggle channel control
• Double-hold to trigger full stop or full erase
• With built-in gestures, you stay in control without menu-diving or complex tap dances. Need even more control? Plug in an external dual-stomp switch to simultaneously take full command of both channels—perfect for live performers and loop-centric setups.

Looping Modes Built for Any Workflow

Switch between three flexible loop sync modes:

• Sync Mode – Keeps all loops time-aligned to the first recorded loop
• Unsynced Mode – Let each channel record loops of completely independent lengths
• Poly Mode – Create polyrhythms using shared time divisions (3:4, 5:7, etc.) for interlocking textures (Supports MIDI clock for precision syncing)
• Visual Feedback That Keeps You Locked In

Each channel has its own multicolor LED system showing:

• Red, Green, and White for recording and playback controls
• Cyan, Pink, Yellow, and Blue LEDs for different speed effects
• Channel Control Status via dedicated red LEDs
• Instantly know what's happening—no guesswork needed, even mid-performance.

Speed FX & Direction Controls

Want to flip your loop upside down or twist it in time? Activate Speed FX to unlock:

• Half / Normal / Double speed
• Reverse playback - Each channel’s playback behavior can be manipulated independently, letting you remix on the fly.
• FX activation syncs to loop start in Sync and Poly modes, ensuring accurate timing
• Bypass That Listens

The Xero features true relay bypass—when no loops are active, the pedal automatically disengages, keeping your tone completely untouched.

Stereo. MIDI. USB. Ready to Integrate.

The Xero Polylooper is a true bypass, dual-channel looping powerhouse with independent loop control on each channel, stereo panning, variable playback speed, reverse playback, three looping modes, and intuitive stomp gestures. The Xero is your new partner for perpetually endless ways to create new song ideas, practice your licks, or build endless textures on stage.

Two Loop Channels, Fully Independent Control

Xero gives you two independent loop channels—each with its own:

Loop up to 3 minutes with near infinite stacking of loops Unlimited overdubs Volume and Pan controls Playback speed (0.5x / 1x / 2x) Reverse playback option You can loop on each channel individually or stack them together to build complex, layered compositions—all in real time.

Play Naturally. Control Effortlessly.

The Xero's dual stomp switches keep loop control fast and intuitive:

Tap the left stomp switch to record and playback loops Hold the left stomp to undo Tap the right stomp switch to stop loop playback Hold the right stomp for speed FX Double-press both switches to toggle channel control Double-hold to trigger full stop or full erase With built-in gestures, you stay in control without menu-diving or complex tap dances. Need even more control? Plug in an external dual-stomp switch to simultaneously take full command of both channels—perfect for live performers and loop-centric setups.

Looping Modes Built for Any Workflow

Switch between three flexible loop sync modes:

Sync Mode – Keeps all loops time-aligned to the first recorded loop Unsynced Mode – Let each channel record loops of completely independent lengths Poly Mode – Create polyrhythms using shared time divisions (3:4, 5:7, etc.) for interlocking textures (Supports MIDI clock for precision syncing) Visual Feedback That Keeps You Locked In

Each channel has its own multicolor LED system showing:

Red, Green, and White for recording and playback controls Cyan, Pink, Yellow, and Blue LEDs for different speed effects Channel Control Status via dedicated red LEDs Instantly know what's happening—no guesswork needed, even mid-performance.

Speed FX & Direction Controls

Want to flip your loop upside down or twist it in time? Activate Speed FX to unlock:

Half / Normal / Double speed Reverse playback - Each channel’s playback behavior can be manipulated independently, letting you remix on the fly. FX activation syncs to loop start in Sync and Poly modes, ensuring accurate timing Bypass That Listens

The Xero features true relay bypass—when no loops are active, the pedal automatically disengages, keeping your tone completely untouched.

Stereo. MIDI. USB. Ready to Integrate.

1/8” MIDI IN/THRU (Type A) for clock sync and remote control USB-C for easy firmware updates via walrusaudio.io Stereo in/out with full panning control on each channel Compatible with Chrome on Mac or Windows for web-based updates Breakdown of Control Layout Channel 1

Pan 1: Stereo balance for loop playback Vol 1: Channel output volume with +3dB of headroom Speed: 0.5x / 1x / 2x playback speed (when Speed FX is active) Direction: Forward or reverse loop playback Channel 2

Pan 2: Independent stereo placement Vol 2: Channel 2 volume with +3dB boost Speed: 0.5x / 1x / 2x playback Direction: Forward or reverse loop playback External Dual Stomp Compatibility

• Breakout and expand stomp controls and add quicker access to secondary features with a TRS dual foot switch

MIDI Integration

Accepts 1/8” TRS MIDI IN (Type A) Sends MIDI THRU to downstream devices Supports full MIDI CC control for looping, playback, speed FX, and more Firmware Updates

• Via USB-C using the Chrome browser on Mac or Windows

• Visit walrusaudio.io to check for the latest firmware releases

Bathing is a liminal delay: perhaps a reverb, or a phaser, or a classic delay, but never exactly any one of these things. It’s a style of effect unique to the Old Blood lineup. You pick the overall delay time, the number of allpass filter stages it runs through to get there, and how you want to modulate the character of those stages. Turn knobs, fear not, and be sure to save that preset when you find it!

For integration into many different rigs, Bathing has:

• Stereo in and out with analog dry through
• Trails or true bypass switching
• Presets
• Expression control over every knob
• MIDI control over everything in the pedal, including MIDI clock in and out for external syncing

Controls:

• Time to set the central delay time, as well as choose between six subdivisions when holding the Tap footswitch
• Stages to set the number of stages the delay passes through, from two to twelve
• Feedback to set the overall feedback amount
• Filter to darken or brighten the character of the delay
• Rate, Depth, and Shape to determine the motion and character as the delay moves through its stages, with a variety of LFO shapes and two envelope options
• Dry to set the volume of the dry signal
• Wet to set the volume of the delay
• Dimension to add subtle stereo chorus/mono vibrato to the wet signal
• Tap/Aux switch to tap in tempo, hold for infinite feedback, or optionally use as a preset switcher
• Soft-touch Bypass footswitch with relay switching for minimal switch noise

For more information, see the Bathing manual available here. Requires 9V DC center negative 2.1mm jack power supply capable of 350mA (not included). The art of Bathing is by John Salame.

In the mid/late 70s guitarists were excited by the idea of expanding the radius of their stage acting by using a wireless system. There were not many of them around that could be used for guitar. The best device to be found was the Schaffer Vega Diversity System. This unit was technically a very clever solution but also colored the sound to a certain degree. Nevertheless many famous players decided that the freedom of running around and be safe from electric shocks counted more than preserving the pure guitar sound. Amongst them were e.g. David Gilmour, Peter Frampton, Eddie van Halen or Angus Young. When it came to recording some discovered that they got so much used to the coloration (more transparency), slight compression (out of the compounder function) and the additional gain boost so they decided to use it not only live but in the studio as well. The production of the Schaffer device stopped somewhen down the line (around 1981) and the development of modern wireless systems continued. As times went by a guy named Filippo Olivieri (SoloDallas.com) - a great fan of AC/DC and especially Angus Young’s tone on the “Highway to Hell”, “Back in Black” or “For those about to Rock” albums - rebuilt the Schaffer´s device audio circuit, being historically correct as the "Schaffer Replicas". Now 40 years have gone since the release of the milestone “Back in Black” (2nd best selling album of all times). BSM decided to take the idea of this classic Rock sound and came up with a completely different solution to hit the target. Not interested in making a simple copy of the circuit but developing own ideas to realize the functions with silicon transistors. What you get now is a flexible high gain treblebooster/preamp combination optimized for medium humbucker pickups that works also very well with P90s and singlecoils. It is intended to hit the high treble input of a British Plexi-type amp (or other classic British oriented tube amps) hard. What came out is a real monster, working at 18 volts. But we have to admit that it still works very well with 9 volts, just a little less monstrous. It also comes with a status LED. The preamp stage is a mild treblebooster of low noise followed by a high gain silicon output stage that can easily be symmetrically driven into saturation. Because of the controls for preamp (“crunch”) and output stage (“level”) you can and have to tame the beast! The “crunch” control sits in between the pre- and output stage but you will have to involve the volume control of the following amp as a Mastervolume for generating the overall drivesound that includes overloading the amp's (possibly clean working) preamp tubes. Unity gain can be achieved by dialing “crunch” to 10 and “level” to 12 o'clock. Maximum gain is 46dB @ 500hz and output can rise up to 15Vpp … so be careful: “High Voltage!” If you have to use other devices like chorus or delay pedals in the chain behind the Black Box and in front of the amp it would be better to run the unit at 9volts to save the other pedals lives. The BSM Black Box is inserted between guitar and amplifier, not into the FX loop. The magical tone is achieved by the interaction between guitar pickup, booster and amplifier. By using the external DC jack, you can power the unit with 9 volts up to 18 volts for increased headroom and output. An internal 9v battery with a current consumption of approximately 3mA@9V (5mA@18V) can also be used to power the unit.

Holy Grail, legendary Deep Purple/Rainbow Tone, very dynamic! The RB (Ritchies Booster)1011 SILVER EDITION MK II is our new version of the legendary preamp (AIWA TP1011) Blackmore started using back in 1974, amazing sound, dynamic and noise performance. After the great sucess of the original RB1011 we proudly present now an updated version with more gain, real bybass and only BOOST mode.

The box also can be used in the FX Loop as a solo boost or buffer. It truly is a secret weapon!

The RB1011 SILVER EDITION MKII Booster is the updated version of the legendary preamp (AIWA TP1011) Blackmore started using back in 1974, amazing sound, dynamic and noise performance.

An original AIWA TP 1011 costs around 4.000,- €, if you are lucky enough to find one.

The RB 1011 SILVER EDITION MKII performs the best with a crunchy amp, that's where he shows his real dynamic and the RB character. He also shows great confidence and sound connected with the high gain channel of your amp, boosts without getting noisy. That's different from other vendors.

The real magic appears by the interaction between pickup, the RB 1011 SILVER EDITION MKII and the amp.

Another top feature of the RB 1011 SILVER EDITION MKII is the unbelievable dynamics and headroom. If you primarily use the volume control on the guitar to play with your sound, this pedal will be your best friend.

The RB 1011 SILVER EDITION MKII is a booster pedal specially tailored to meet the needs of skilled guitarists.

All the electronic parts are hand selected for their intrinsic sound quality and long-term reliability. Short signal paths guarantee a fast signal processing and the highest dynamics. Uncompromising quality of our circuitry is complemented with high-quality mechanical parts and components.

GuitarSlinger Effects pedals are custom-made products handbuilt by professionals for professionals.

In 1974, right before the start of the "Burn" tour, Ritchie Blackmore changed his live setup. First and foremost, he wanted to play live with an echo effect and made the AIWA TP-1011 reel-to-reel tape recorder his first choice. This unit offered the typical 1/3 seconds echo repeat, perfectly matching Blackmores natural beat. Additionally, Ritchie Blackmore used the integrated microphone pre-amp as a booster, and with this his beloved Hornby-Skewes treblebooster he used for many years was not longer needed and was sent into retirement. The necessary trebleboost function (from a technical point of view a "highpass" function), was built into his heavily modified Marshall Major 200 amp. This first remarkable modification of the Major's pre-amp stage was done in the Marshall factory, resulting in a raw and fat tone, you can hear on the "California Jam" recordings from April, 1974. Later on, a new mod was done, resulting in biting, piercing highs with a tight bass, the "Live in London" tone as well as for the rest of the Deep Purple Mk3 period. This two, totally different tones are integrated into the BSM "RPA California", and with the help of the "BITE" control pot, you can smoothly blend them, so the BSM "RPA California" is all you need to cover the complete sound-spectrum of Blackmore's Deep Purple Mk3 time. The Major amp now received a cascaded pre-amp stage with a new, non-bridged cathode resistor at one of the triode stages to prevent to much overall gain. Further on, the 250Ohm screen-grid resistors of the four KT88 power tubes were changed to 1kOhm and the two 10uF electrolytic filter capacitors of the BIAS power supply were replaced by two 47uF (160volt minimum) caps. After 1975, Blackmores tech did several fine tunings over the years to Ritchies Major amp, because Ritchie experimented with several pickups in his guitars as well as with several new ideas of his trademark sound.

Not everybody owns such a heavily hot-rodded amp, and if so, for sure it will not have the correct highpass cutoff frequency! So BSM had the idea, to not only rebuild the AIWA preamp stage, but to also integrate the important highpass function with the original cutoff frequency. The BSM RPA California emulates both typical soundshaping functions in only one stompbox - another BSM first ! The EQ control allows a tonal fine tuning for the use of the RPA California with different pickups, amps and speakers for an optimum in versatility. Depending on the pickups, the sweet spot of the EQ control is located between 12:00 and 03:00 o'clock. As a soulmate for the RPA California, you can use any mild sounding amp with a good master control function. Plug it in front of the CLEAN or CRUNCH channel, but don't use the high-gain or distortion channel! Because of the EQ control, you can use all kinds of pickups, from the historical correct brilliant sounding low-gain Fender Custom Shop 69' (aka "Abigail Ybarra" pickups) up to the thundering Seymour Duncan "Quarterpounds".

The RPA California Booster is inserted between guitar and amplifier, not into the FX loop. The magical tone is achieved by the interaction between guitar pickup, booster and amplifier. The unit is powered by a 9V battery with a current consumption of approx. 350 uA. The average output level is 9dBm, the maximum output voltage when the strings are struck really hard is 7V max. Because of the external DC jack, you can power the RPA Major with 9volts.

Note: The negative pole of the battery is ground!

At the point of their foundation in 1973 "Bad Company" assembled of three main band fragments. Boz Burell on bass, who left "King Crimson" after being unsatisfied with the tricky and complex harmony structure of the compositions by his boss Robert Fripp. Next was guitarist Mick Ralphs, formerly of "Mott the Hoople". The band fronted by the dominant singer Ian Hunter, who pushed the band into the new Glam-Rock trend. Mick disliked the new direction, so he left as well only to team up with Simon Kirk and Paul Rodgers from the famous British band "Free", who he met several times when "Mott the Hoople" opened for "Free". "Free" was -and still is- nowadays well known for their guitar player Paul Kossoff with his irreproducible soulful finger vibrato, his clever chord-inversions and his pure earthy sound.

"Bad Company" was often wrongly disposed as follow up band for "Free". This is not actually true, for most of "Free's" songs stemming from their bassist Andy Fraser and singer Paul Rodgers. Kossoff hardly made an appearance as songwriter. As a result "Free" played mostly Fraser's music. Andy Fraser had the gift of enhancing the bass as an independent melody-instrument as well as John Entwhistle did in "The Who". In "Bad Company" the compositions were more ensemble-based with an important amount of input by Mick Ralphs. Ralphs was a root Rock player with straight fat chords, using more overdrive than Koss. Ralph's style was a broader layer sound. Koss in his way virtuosic with ventured chord inversions. His solos were reduced on the important notes without any effects straight into the amps. Two different players, two personalities with two different approaches to playing. Rodgers even played piano and second guitar live on many tunes enhancing the overall sound. Therefore "Bad Company" always sounded more voluminous and cooler than "Free", in a way slightly more American.

On March, 3rd 1976 "Bad Co" played in Albuquerque, the largest town in New Mexico. Ralphs -as a habit- recorded the gig amongst many other concerts. 30 years later this extra fine recording was released as a small series only for a short period of time. It embodies one of the finest live acts of the 70s at their peak. Ralphs can be heard with a tight rich harmonic Les Paul overdrive sound and with drums and bass layering the ideal Rock basis for Paul Rodger's hoarse blues based vocals. The perfect 4 piece!

The "Albuquerque" Booster was intended as a tribute to Mick Ralphs' classic 76 Rock sound. Really a one trick pony, but what a cool one! It was mainly created for use with classic Humbucker like PAF equipped guitars so as to drive the following amp in strong overdrive saturation. This effect can be achieved with single coils as well. With the "slope" switch you can reduce the amount of bass noticeable depending on your likes and the amp's preamp characteristic.

The magical tone of the "Albuquerque" Booster is achieved by the interaction between guitar pickup, booster and amplifier. The "Albuquerque" Booster should be connected in the signal path directly behind the guitar. The "Albuquerque" is powered by a 9V battery or external 9V power supply with a current consumption of approximately 260 uA. The average output level is 6 dBm, the maximum output voltage is 5V, when the strings are struck really hard. Note: The negative pole of the battery is ground. All BSM Boosters work true bypass when switched off.

Brian May from Queen used in his early days the British Range Master Germanium Treble Booster, a unit produced between 1965 and 1969. This model is rebuild as RM by BSM. In mid-phase from Queen, BrianMay switched to a silicon Treble Booster design for more bite, now reproduced by BSM with orginal silicon transistor and called BM-Q special. The same unit fitted with volume control called BM-Q.

Almost all British rock guitarists using single coil pickup guitars used a germanium Treble Booster from the late 60's to the mid 70's. By the end of the seventies, the Treble Booster was replaced by a new circuit from Japan, the so called Tube Screamer and other similar overdrive circuits. These were based on the old Treble Boosters and therefore had a very similar frequency response. The boosters on the other hand, sadly fell into oblivion despite their unique and inimitable sound. The BM-Q Treble Booster has been specifically designed for single coil pickups with a standard coil inductance, such as pickups in Fender, Rickenbacker, Burns or Gibson guitars. On these pickups, the BM-Q produces (with the volume control of the guitar turned up to the max) a fat, biting and penetrating lead sound, minus any shrill characteristics. By lowering the guitar's volume control, many shades of crunch can be easily dialed in. Another thing to consider is that when a guitar amp's volume is turned up (reaching saturation), the power amp normally begins to mute the highs, which results in a duller sound. At an amp's full tilt, the BM-Q Treble Booster allows a more transparent tone (covering the entire frequency range) to shine through. The presence control on the amp need only be minimally used (if at all). When vintage amps are used (such as the Fender Deluxe, Fender Bassman, Vox AC30, plexi Marshall 50 or 100 watt) it is amazing what effect the use of a good treble booster has. It is also of interest to note that Brian May used a couple of VOX AC30 combos with the BM-Q in front of the "Normal" channel by volume setting three quarter of full. If you don't have an AC-30 amp, you can simulate the behaviour of it's CLEAN channel with any other tube amp by plugging in your axe into the NORMAL channel + cutting down the TREBLE pot while open the MID pot all the way up. Adjust the BASS control to your own preferences and you are done.

The Treble Booster is inserted between guitar and amplifier, not into the FX loop. The magical tone is achieved by the interaction between guitar pickup, treble booster and amplifier. The unit is powered by a 9V battery with a current consumption of approx. 500 uA. The average output level is 10dBm, the maximum output voltage when the strings are struck really hard is 7V max.

Based on the best classic boosters, the BSM Ambassador - a germanium treble/midrange booster, is a crossover between the Rangemaster Booster, the Orange Booster and the Winston Booster. The transistors are specially selected to pass the strict internal BSM factory QC guidelines. Classic boosters never cared about the midrange, and that's what makes the Ambassador stand out - the midrange and the treble range are both inside this little box. From crystal clear highs to fat and meaty mids, it's easy to dial in all these sounds with every common pickup. With the "color" control set to midrange, a singlecoil pickup really sounds like a PAF humbucker, and a PAF like fat and overwounded humbucker. The Ambassador is loaded with a special selected original NOS germanium transistor from the 60's, like the Winston Treble Booster was.

From the late 60's to the mid 70's almost all british rock guitarists used single coil pickup guitars and some type of germanium booster. By the end of the seventies, these boosters were replaced by a new circuit from Japan, the socalled Tube Screamer and other similar overdrive circuits. These were based on the old boosters and therefore had a very similar frequency response. The germanium boosters on the other hand, sadly fell into oblivion despite their unique and inimitable sound.

The Ambassador Booster is inserted between the guitar and the amplifier, not into the FX loop. The magical tone is achieved by the interaction between guitar pickup, booster and amplifier. The unit is powered by a 9V battery with a current consumption of aprox. 250 uA. The average output level is 7dBm, the maximum output voltage when the strings are struck really hard is 5V max. Note: The positive pole of the battery is ground.

The BSM RM-Metal model is based on the British Range Master unit produced between 1965 and 1969, as used by Eric Clapton in John Mayall's Bluesbreakers. Eric also used the booster when playing in the legendary group Cream. Its biting, powerful sound is clearly in evidence on the Bluesbreakers "Beano" album. Blues rocker Rory Gallagher, Heavy Rock pioneer Tony Iommi and Brian May from Queen were also heavy users of the orginal Range Master unit. The long yearned for new edition, now issued under the name RM from BSM, includes the same OC44 germanium transistors as the the original 1965 version. The RM Metal is a modified '69er RM model like Mr. Iommi's unit, which he has used on his second Black Sabbath records and later. The RM Metal model is recommed for Nu-Rock, low dropped tunings and baritone guitars.

Almost all British rock guitarists using single coil pickup guitars used a germanium Treble Booster from the late 60's to the mid 70's. By the end of the seventies, the Treble Booster was replaced by a new circuit from Japan, the so called Tube Screamer and other similar overdrive circuits. These were based on the old Treble Boosters and therefore had a very similar frequency response. The germanium boosters on the other hand, sadly fell into oblivion despite their unique and inimitable sound. The RM Treble Booster has been designed for single coil and humbucking pickups with standard coil inductance, such as pickups in Fender, Gretsch, Burns or Gibson guitars. On these pickups, the RM Metal produces (with the volume control of the guitar turned up to the max) a fat, biting and penetrating lead sound, minus any shrill characteristics. By lowering the guitar's volume control, many shades of crunch can be easily dialed in. Another thing to consider is that when a guitar amp's volume is turned up (reaching saturation), the power amp normally begins to mute the highs, which results in a duller sound. At an amp's full tilt, the RM Metal Treble Booster allows a more transparent tone (covering the entire frequency range) to shine through. The presence control on the amp need only be minimally used (if at all). When vintage amps are used (such as the Fender Deluxe, Fender Bassman, Vox AC30, plexi Marshall 50 or 100 watt) it is amazing what effect the use of a good treble booster has. It is also of interest to note that Tony Iommi used a Laney stack with Black Sabbath.

The Treble Booster is inserted between guitar and amplifier, not into the FX loop. The magical tone is achieved by the interaction between guitar pickup, treble booster and amplifier. The unit is powered by a 9V battery with a current consumption of approx. 250 uA. The average output level is 10dBm, the maximum output voltage when the strings are struck really hard is 7V max. Note: The positive pole of the battery is ground.