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The first intention for BSM was to pay tribute to the pearly-sweet and creamy live tone, known from the British guitarist Andy Powell during 1973-76. His band Wishbone Ash was one of the leading European bands at that time, well known for their twin harmonic playing of the two lead guitarists. BSM focuses on the 1973 clean & boost live sound of their folk-rock songs like “Ballad of the Beacon” or “Blowin’ Free”. The AP-WA medium gain Treble Booster is mainly designed for medium or low output PAF style, Mini Humbucker or P90 fitted mahagony type guitars to achieve many classic sounds of the 70s.

he BSM AP-WA Treble Booster is almost a clean booster with a special frequency response. If you set a guitar’s volume control (fitted with standard PAFs) at full, the unit overdrives a tad. If you dial the guitar’s volume lower than #9, the unit works in perfect clean mode. Depending on the amp’s crunch or clean tone, you will have lots of possibilities. The AP-WA booster has a 2-way toggle switch for tone match. Note: for technical reasons the gain control works counter clockwise, gives you the most gain on the full left.

After designing the AP-WA for the main purpose to pay tribute to Andy Powell, it became obvious, that there are many more possibilities if you are into that Classic Rock thing. When using an ES-335 Type of guitar you may find yourself remembering Rainer Baumann’s highly dynamic and creamy sound with the German band Frumpy in 1971/72 (e.g. on “How the gypsy was born”). In 1972 Baumann was the most popular guitarist in Germany according to “Musik Express” and other magazine polls, ahead of the usual international suspects.

With the mini switch in the fatter position you can achieve Gary Moore’s famous Les Paul with Marshall tone.

The switch set in the more slender tone position enables you to copy Michael Schenker’s glorious Flying V live tone of UFO’s live classic “Strangers in the night”. Use an already crunchy tube amp, turn the gain knob all the way up and do the rest with the guitar’s volume control. Easily blend between clean, crunchy rhythm and full lead blast. The AP-WA Treble Booster dramatically increases the dynamics of your signal chain. Muddy sounding neck pickups can be cleared up with transparency. The AP-WA Booster has to be inserted between guitar and amplifier, not into the FX loop. The magical tone is achieved by the interaction between guitar pickup, booster and amplifier. A 9V battery with a current consumption of approx. 260 uA powers the unit. Because of the external DC jack, you can power the AP-WA with 9 volts. The average output level is 5 dBm, the maximum output voltage when the strings are struck really hard is 4V. Note: The negative pole of the battery is ground! All BSM Boosters work true bypass when switched off.

Many guitarists of the late 60s and early 70s knew how to get a rough earthy and unmistakable sound out of their humbucking pickups and tube amplifiers, which in retrospect has not been possible to recreate so far. Representative guitarists’ names are Luther Grosvenor, Henry McCullough, Steve Marriot or the incomparable Ron Wood. Now BSM has dedicated a special Booster to this sound, so as to receive this historical sound with every tube amp, that offers a powerful clean or crunch character.

The RW-F has been specially designed for classical medium power pickups like the PAF or P90, also the Mini Humbucker or fat overwound single coils. Especially the neck Humbucker, which often tends to sound muddy with inappropriate amp control settings, stays clear now with an unheard warm balance between bass and treble, when using the RW-F. The bridge Humbucker becomes tight and definite with great punch. One Gain-control is enough! It enables you to blend from a slightly earthy crunch to a creamy blues till fat modern. Everything is permitted. If the guitar’s volume pot is slightly rolled back, you will get the typical earthy crunch of times long gone.

The RW-F 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. A 9V battery with a current consumption of approx. 250 uA powers the unit. Because of the external DC jack, you can power the RW-F with 9 volts. The average output level is 5dBm, the maximum output voltage when the strings are struck really hard is 4V max. Note: The negative pole of the battery is ground!

The DM-T is based on a germanium fitted special Booster from the late 60‘s. Here is a copy of this circuit but with the nice addition of a very versatile frankenstein tone-control system: for the treble and mid tone-control the circuit of the almost forgotten Apollo booster is used while for the bass tone-control the circuit of a modified VOX booster will comfort your ears. In comparison to the technical similar but more gently sounding Ambassador Treble & Midrange Booster, the DM-T produces a harder sound without getting shrill. It fits perfectly the classic beat and rock sound but is also a good mate for funky or country rock music. The DM-T is loaded with original west European NOS 60s germanium transistors.

Almost all British rock guitarists using single coil pickup guitars used some type of germanium booster from the late 60‘s to the mid 70‘s. By the end of the seventies, these boosters were replaced by a new circuit from Japan, the so called 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 DM-T 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 aprox. 350 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.

As a follow-up of the short-lived germanium-transistor loaded early issued Hornby-Skewes Treble Booster, now the 1967 version, equipped with a silicon transistor, appears on the scene under the BSM brand HS-S. With additional volume control like Blackmore´s modified unit as HS-S Master available.

The Hornby-Skewes Treble Booster was Ritchies favorite box for live and studio recordings like the famous 1971 "Machine Head" or the later 1974 "Burn" session. The HS-S Master in front of a Vox AC30 gives you the unique sound of the well-known rock hymn "Smoke on the water". Compared to its forerunner, the HS-S sounds a tad more aggressive with more mid-range with the guitar’s volume pot fully opened, a little bit similar to a WahWah sound. But the higher the pre-amp volume of the amp is dialed in, the more this midrangy tone will be forced into the background because now the saturation of the amp will generate the necessary harmonics. So it´s up to you to chase the sweet spot of the HS-S unit. You will have to raise the pre-amp volume of a Marshall Major noticeably because this amp is a very clean sounding one. To have some good reserves when dialing in the pre-amp volume Blackmore had his Major amps modded early with a cascaded pre-amp design right from the factory.

Almost all British rock guitarists using single coil pickup guitars, used a germanium or silicon 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 acoustically based on the old Treble Boosters and therefore had a very similar frequency response. The treble boosters on the other hand, sadly fell into oblivion despite their unique and inimitable sound. The HS-S Treble Booster has been designed for single coil or humbucking pickups with a relatively low/medium coil inductance, such as pickups in Fender or Gibson guitars. In conjunction with this pickups, the HS-S with the volume control of the guitar turned up to the max, produces 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 and reaching saturation, the power amp normally begins to mute the highs, which results in a duller sound. At an amp’s full tilt, the HS-S Treble Booster allows a more transparent tone, covering the entire frequency range to shine through. With vintage amps like the Fender Deluxe, Fender Bassman, Vox AC30, Marshall 100w or Marshall Major it is amazing what effect the use of a good treble booster has.

The HS-S Treble Booster is inserted between guitar and amplifier, not into the FX loop. The magical tone is achieved by the interaction between the guitar pickup, Treble Booster and amplifier. The unit is powered by a 9V battery with a current consumption of approx. 750 uA with positive ground. The average output level is 5dBm, the maximum output voltage when the strings are struck really hard is 4V max.

The BSM HS model is based on the short-lived early edition British HORNBY-SKEWES unit produced, as used by Ritchie Blackmore, the brilliant and impulsive guitarist of Deep Purple. The unit produces a powerful and biting sound that was used to help create the epochal masterpieces e.g. "Deep Purple In Rock" and "Fireball". The long yearned for new edition, now issued under the name HS from BSM, includes the same germanium transistors as the 1965 version. The HS-Custom model includes a volume control (like Blackmore's modification).

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 acoustically 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 HS and the HS-Custom Treble Booster has been specifically designed for single coil pickups with a relatively low coil inductance, such as pickups in Fender or Gibson guitars. On these pickups, the HS 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 HS 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 100w or Marshall Major) it is amazing what effect the use of a good treble booster has.

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. 280 uA. The average output level is 6dBm, the maximum output voltage when the strings are struck really hard is 5V max. Note: The positive pole of the battery is ground.

As a follow-up of the short-lived germanium-transistor loaded early issued Hornby-Skewes Treble Booster, now the 1967 version, equipped with a silicon transistor, appears on the scene under the BSM brand HS-S. With additional volume control like Blackmore´s modified unit as HS-S Master available.

The Hornby-Skewes Treble Booster was Ritchies favorite box for live and studio recordings like the famous 1971 "Machine Head" or the later 1974 "Burn" session. The HS-S Master in front of a Vox AC30 gives you the unique sound of the well-known rock hymn "Smoke on the water". Compared to its forerunner, the HS-S sounds a tad more aggressive with more mid-range with the guitar’s volume pot fully opened, a little bit similar to a WahWah sound. But the higher the pre-amp volume of the amp is dialed in, the more this midrangy tone will be forced into the background because now the saturation of the amp will generate the necessary harmonics. So it´s up to you to chase the sweet spot of the HS-S unit. You will have to raise the pre-amp volume of a Marshall Major noticeably because this amp is a very clean sounding one. To have some good reserves when dialing in the pre-amp volume Blackmore had his Major amps modded early with a cascaded pre-amp design right from the factory.

Almost all British rock guitarists using single coil pickup guitars, used a germanium or silicon 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 acoustically based on the old Treble Boosters and therefore had a very similar frequency response. The treble boosters on the other hand, sadly fell into oblivion despite their unique and inimitable sound. The HS-S Treble Booster has been designed for single coil or humbucking pickups with a relatively low/medium coil inductance, such as pickups in Fender or Gibson guitars. In conjunction with this pickups, the HS-S with the volume control of the guitar turned up to the max, produces 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 and reaching saturation, the power amp normally begins to mute the highs, which results in a duller sound. At an amp’s full tilt, the HS-S Treble Booster allows a more transparent tone, covering the entire frequency range to shine through. With vintage amps like the Fender Deluxe, Fender Bassman, Vox AC30, Marshall 100w or Marshall Major it is amazing what effect the use of a good treble booster has.

The HS-S Treble Booster is inserted between guitar and amplifier, not into the FX loop. The magical tone is achieved by the interaction between the guitar pickup, Treble Booster and amplifier. The unit is powered by a 9V battery with a current consumption of approx. 750 uA with positive ground. The average output level is 5dBm, the maximum output voltage when the strings are struck really hard is 4V max.

The BSM RM 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, Glam rocker Mark Bolan, Heavy Rock pioneer Tony Iommi and Brian May from Queen were also heavy users of the original Range Master unit.

The RM Early Days is the result of many customers' demands, looking for the early RM sound. The RM Early Days is loaded with the same highly selected OC44 transistor, used for the famous stock RM model. Only the passive circuit has small differences to the stock RM unit. Therefore the RM Early Days sounds a little clearer and brighter in treble and tighter in the bass-response, compared to the stock RM. It's a fine machine for a brilliant classic rock tone.

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 specifically designed for single coil and humbucking pickups with a relatively low/medium inductance, such as pickups in Fender, Gretsch, Burns or Gibson guitars. On these pickups, the RM 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 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, Marshall JTM 45 or Marshall Plexi) it is amazing what effect the use of a good treble booster has. It is also of interest to note that Eric Clapton used a new 2 x12" Marshall combo (Model #1962 with KT66 output tubes) with the Bluesbreakers, and 100 Watt Plexi heads with Cream. Brian May used a couple of VOX AC30 combos with the RM in front of the "Normal" channel.

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 aprox. 250 A. 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. By turning the volumepot, the specially circuit design makes noise - just like the orginal!

The BSM RG Rory Gallagher tribute model is basically a BSM HS-Custom, modified to nail Rory Gallaghers signature tone, known from his famous recordings like "Big Guns" or "Lonesome Highway". Compared to the HS-Custom, the RG Rory Gallagher tribute model offers more gain for a more punchy sound with a good crunch. The RG Rory Gallagher tribute model, includes the same volume control, like Blackmore's modification on his treble booster. When dialed about halfway, you will achieve Gallaghers sound from his early records like "Deuce", "Live in Europe" and "Against The Grain". If you use a guitar with PAF style humbuckers, reduce the guitar's volume from 10 to 7 and set the PRA's volume to 50% to get this earthy, rough early/mid 70's R&B sound from the "Faces" (Ron Wood on guitar and Rod Stewart's vocals).

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 RG Rory Gallagher tribute Treble Booster has been specifically designed for single coil pickups with a relatively low coil inductance, such as pickups in Fender, Rickenbacker, Burns or Vox guitars. On these pickups, the RG Rory Gallagher tribute model produces (with the volume control of the guitar turned up to the max) a fat, biting and penetrating lead sound, without 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 RG Rory Gallagher tribute 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 100w or Marshall Major) it is amazing what effect the use of a good treble booster has. It is also of interest to note, that Rory Gallagher played a standard Fender Strat into the “normal” channel at a VOX AC30 "top-boost" amp. The only stompbox he used, was his treble booster. After he used a Rangemaster for some time, he switched to the rare Hawk booster.

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. 280 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!

AMP ELEVEN, a fat, organic tone of an overdriven tube amp – with separate controls for bass and tone. Additional boost circuit. Kick the boost footswitch and you can instantly pivot from gritty rhythm riffs to screaming leads… or anything in between.

FEATURES: - Smooth, round, balanced, low-to-medium gain overdrive - Slight overdrive to mild distortion Great dynamic response and open sound - Independent Switching Between Boost Channel And Overdrive Channel.

Connectors: - Input, Output, DC adapter

Power Supply: - 9V battery operation or 9V – 18VDC

AMP ELEVEN, a fat, organic tone of an overdriven tube amp – with separate controls for bass and tone. Additional boost circuit. Kick the boost footswitch and you can instantly pivot from gritty rhythm riffs to screaming leads… or anything in between.

FEATURES:

• Smooth, round, balanced, low-to-medium gain overdrive
• Slight overdrive to mild distortion Great dynamic response and open sound
• Independent Switching Between Boost Channel And Overdrive Channel.

Connectors:

• Input, Output, DC adapter

Power Supply:

• 9V battery operation or 9V – 18VDC

AMP ELEVEN, a fat, organic tone of an overdriven tube amp – with separate controls for bass and tone. Additional boost circuit. Kick the boost footswitch and you can instantly pivot from gritty rhythm riffs to screaming leads… or anything in between.

FEATURES Smooth, round, balanced, low-to-medium gain overdrive Slight overdrive to mild distortion Great dynamic response and open sound Independent Switching Between Boost Channel And Overdrive Channel. Connectors: Input, Output, DC adapter Power Supply: 9V battery operation or 9V – 18VDC

AMP ELEVEN, a fat, organic tone of an overdriven tube amp – with separate controls for bass and tone. Additional boost circuit. Kick the boost footswitch and you can instantly pivot from gritty rhythm riffs to screaming leads… or anything in between.

FEATURES: - Smooth, round, balanced, low-to-medium gain overdrive - Slight overdrive to mild distortion Great dynamic response and open sound - Independent Switching Between Boost Channel And Overdrive Channel.

Connectors: - Input, Output, DC adapter

Power Supply: - 9V battery operation or 9V – 18VDC

The BSM HS model is based on the short-lived early edition British HORNBY-SKEWES unit produced, as used by Ritchie Blackmore, the brilliant and impulsive guitarist of Deep Purple. The unit produces a powerful and biting sound that was used to help create the epochal masterpieces e.g. "Deep Purple In Rock" and "Fireball". The long yearned for new edition, now issued under the name HS from BSM, includes the same germanium transistors as the 1965 version. The HS-Custom model includes a volume control (like Blackmore's modification).

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 acoustically 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 HS and the HS-Custom Treble Booster has been specifically designed for single coil pickups with a relatively low coil inductance, such as pickups in Fender or Gibson guitars. On these pickups, the HS 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 HS 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 100w or Marshall Major) it is amazing what effect the use of a good treble booster has.

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. 280 uA. The average output level is 6dBm, 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 Velvet 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, Glam rocker Mark Bolan, Heavy Rock pioneer Tony Iommi and Brian May from Queen were also heavy users of the original Range Master unit.

The RM Velvet is the result of a lot of customer demands, looking for the perfect Blues machine. The RM Velvet is loaded with the same highly selected OC76 transistor, used for the famous BSM OR model and therefore sounds much smoother and silkier than it's brother with the OC44. The tone of the RM Velvet is rounder and warmer than a stock RM and the perfect machine if you are looking for the ultimate Blues pedal.

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 specifically designed for single coil and humbucking pickups with a relatively low/medium inductance, such as pickups in Fender, Gretsch, Burns or Gibson guitars. On these pickups, the RM 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 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, Marshall JTM 45 or Marshall Plexi) it is amazing what effect the use of a good treble booster has. It is also of interest to note that Eric Clapton used a new 2 x12" Marshall combo (Model 1962 with KT66 output tubes) with the Bluesbreakers, and 100 Watt Plexi heads with Cream. Brian May used a couple of VOX AC30 combos with the RM in front of the "Normal" channel.

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. By turning the volume pot, the special circuit design makes noises - just like the orginal does!

The BSM RMG model is based on the british Vox Treble & Bass booster made in the late 60's, used by many british bands at this time. Here is a custom version of this Vox unit as a homage to the famous BYRDS guitarist Roger McGuinn and his signature "jingle jangle" sound. The RMG´s customized tone network, makes it the perfect treble booster for all clean sounds. The RMG model includes a tone control, that allows an extraordinary amount of versatility. It can add a lot of twang and spank to any guitar sound. By pronouncing the percussive attack in a very musical way, any guitar will sound more "in the face" that way. With the tone pot set to maximum (5:00 o'clock), the unit will produce a very glassy tone - the classic "jingle jangle" sound of Roger McGuinn during his mid 60s time with the BYRDS, think of "Mr. Tambourine Man" and you are on the right track. When a middle setting is dialed in (12:00 o'clock), the result is a punchy tone, with mild highs and a tight and powerful bass bottom, a perfect sound for any Country/Nashville and Rockabilly style. If it´s set to minimum (7:00 o'clock), you will get a bluesy bottom with enough mids and a little bit of shimmering highs for all you jazz and swing cats out there. The RMG fits perfectly all kinds of music, where a good clean tone is essential and you can use it for all styles of Country, Rockabilly, Jazz, Swing, Bebop and many more. The RMG can also make any standard Stratocaster sound like a Telecaster guitar! To take full advantage of the RMG's possibilities, you should use it together with a compressor. You can run the RMG into the compressor or vice versa, feel free to experiment and find out what you like best. In general the RMG works better in combination with analog compressors than with digital devices, same with chorus and delay. The RMG sounds great in front of any tube or transistor amp, so it´s one of the very rare boosters, that also work great with transistor amps, often preferred by guitarists playing clean all the time. You can even use your RMG with your acoustic guitar.

Almost all british rock guitarists using singlecoil pickup guitars, used some type of germanium booster from the late 60's to the mid 70's. At the end of the seventies, these boosters were replaced with 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 treble boosters on the other hands side, sadly fell into oblivion, despite their unique and inimitable sound. Roger McGuinn used a Vox Treble Booster and a compressor in front of Fender amps and played Rickenbacker 12-string guitars with "toaster" pickups.

The RMG Booster is 100% true bypass and 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 single 9 volt battery with a current consumption of aprox. 50 uA. You can also power the unit, using the external "Boss style" (2.1mm - tip negative) DC jack, the internal battery will shut off automatically then. The average output level is 0dBm, the maximum output voltage when the strings are struck really hard is 2V max. You can also power the unit, using the external "Boss style" (2.1mm - tip negative) DC jack, the internal battery will shut off automatically then. For even more clean headroom, you can also power the RMG with 18 volts. A bright LED will light up, when the booster is engaged. Note: The negative pole of the battery is ground!

The fine BSM V-TB, a replica of the old Vox Treble Booster from autumn 1964, has finally made it from a custom order to a regular model. Roger McGuinn of the Byrds created his 1960's sizzling "jingle-jangle" trademark sound with the Vox Treble Booster along with his 12-string Rickenbacker guitar. With the "Bass Boost" switch, the bass frequencies can be raised by +10dB, resulting in a beautiful sparkling tone, Tom Petty and his sideman Mike Campbell comes to mind.

Let's work out the differences between the BSM V-TB and RMG models. The RMG is based on the Vox Treble & Bass booster that was released after the Vox Treble Booster. While the RMG has a pot to fine-tune the high-end, the VT-B has preset shimmering highs and BSM added a bass mode switch with two settings to get a more modern sound in the direction of Tom Petty & the Heartbreakers.

The BSM VX-T model is based on the british Vox Treble & Bass booster, made in the late 60's and used by many british bands at this time. Here is an almost identical copy of the second issue of this Vox unit, but with increased gain and a slightly modified tone network, pronouncing the mid frequencies and making the VX-T the perfect treble-midrange booster. So the sound of the VX-T is placed in between the VX-C Classic Treble&Bass booster and the RMG Treble Booster. The VX-C Classic offers a more vintage orientaded tone control with some good low end, while the RMG adds more twang and spank to the tone. The VX-T model includes a tone control which allows an extraordinary amount of versatility. When setting the tone-pot to maximum, the unit will produce a very glassy tone - like the "jinge jangle" sound of Roger McGuinn during his mid 60s time with the BYRDS, but with more gain than the RMG and VX-C. When a middle setting is dialed in, the result is a punchy tone with mild highs and a tight an powerful bass bottom. If set to minimum, the unit produces a bluesy bottom with enough mids and a little bit of shimmering highs, but the bass is never getting wooly, like the VX-C Classic can do.

Almost all British rock guitarists using single coil pickup guitars used some type of germanium booster from the late 60's to the mid 70's. By the end of the seventies, these boosters were replaced by a new circuit from Japan, the so called 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 VX-T Booster is 100% true bypass and 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 single 9V battery with a current consumption of aprox. 35 mA. The average output level is 3dBm, the maximum output voltage when the strings are struck really hard is 3V max. For even more clean headroon, you can also power the unit with 18V. Note: The negative pole of the battery is ground.

Handmade V806 Treble Booster clone based in a '66 factory schematic. This is Tom Petty and Roger McGuinn's secret weapon to get all that jangle from their Ricks.

Other features: · Shielded inputs/outputs to avoid RF interference. · Alpha reliable and robust footswitch. · Metal film caps and resistors for lower floor noise. · Filtered and wrong polarity protected DC9V. · Can be daisy-chained. · Popless True Bypass switching. · Low current draw: 7.5mA.

Handmade V806 Treble Booster clone based in a '66 factory schematic. This is Tom Petty and Roger McGuinn's secret weapon to get all that jangle from their Ricks.

Other features: - Shielded inputs/outputs to avoid RF interference. - Alpha reliable and robust footswitch. - Metal film caps and resistors for lower floor noise. - Filtered and wrong polarity protected DC9V. - Can be daisy-chained. - Popless True Bypass switching. - Low current draw: 7.5mA.

Handmade V806 Treble Booster clone based in a '66 factory schematic. This is Tom Petty and Roger McGuinn's secret weapon to get all that jangle from their Ricks.

Other features: · Shielded inputs/outputs to avoid RF interference. · Alpha reliable and robust footswitch. · Metal film caps and resistors for lower floor noise. · Filtered and wrong polarity protected DC9V. · Can be daisy-chained. · Popless True Bypass switching. · Low current draw: 7.5mA.