Other Equipment

Overdrives for a Strat - TS free zone!

26

One is silver, one is blue. Which has the switchable hot mode?

– Proteus

Pics in post #18. Please note the switch. You want the blue one.

27

Aye. The one that ISN’T available at 50.00 off from Prymaxe. Mighta known that.

Wonder if they’ll put blue knobs on a blue one for me.

28

Oh I don't know - I never use the hot switch on the Blue note. It gets plenty dirty with a Gretsch for me. But then again I do live in a low-gain world. Low-gain means clean-to-dirty, my favourite place to be.

FWIW the circuits on the Blue Note, Animal and Majestic are almost identical. The main areas of difference are the diodes and the gain pot. The Blue Note has a 50K gain, the Majestic a 100K and the Animal a 500K. The higher the value, the more gain. The Majestic uses a pair of 1N4001 diodes with a pair of germanium diodes too, and it is set up to kind of have a hot switch on, except it's a mild one. There's a bit more to the differences than that but not much. It's a great, very simple circuit which just works. The Wampler Euphoria is a slightly more complicated version of these pedals too. Brian Wampler came up with the basics of all these pedals but the Rockett designs have moved on from his original concept somewhat.

What I like about these pedals is that they sound big, natural and open. They sound possibly better than such a simple circuit should! In comparison the Friedman Dirty Shirley has about 4 times the parts! Four opamp chips, four pairs of diodes, both LED and silicon, and more knobs. For all that I don't think it sounds four times better. But very good with a Strat!

Klons are surprisingly complex - Two opamp chips and a charge pump to double the voltage. And it still sounds a lot like a Tubescreamer.

Another pedal I tried recently because of how much I like some of the Rockett pedals was the Rockaway Archer, which is a Klon with a graphic EQ after the gain stages. It's designed with Steve Stevens apparently. The EQ is great but the overdrive section sounded awful with my gear. Dark and nasal - yuck.

29

Curious that you laud the Rockett designs, while dismissing the Timmy as "too polite". They are nearly topologically identical, so the only differences must be in the curves of the various filters, and the diode selection (though all seem to have some manner of series silicon diodes, so the differences are maybe not so great). Without doing the math to figure out the frequency responses, I find it fascinating how for example the Blue Note and the Timmy could elicit such different responses.

All the pedal talk around here lately has me daydreaming about overdrives, so I finally build the Klon I've been planning last night:

I think next I will have to so some manner of Timmy (or maybe a Rockett something-or-other).

30

" I find it fascinating how for example the Blue Note and the Timmy could elicit such different responses."

Agreed there! I actually had a Blue Note, and ODR-1, a Timmy, and a Barber LTD-SR, all at the same time... all are "less mids" to "transparent" ODs... in the end, they were all good, the Nobels went first. Then the Barber. The BN and Timmy were so close I had a difficult time, but in the end, the BN won.

31

Ah. So it's another Tim-Timmy-Euph. Maybe I'm off that hook, then. Why the BN over the Timmy?

32

Ah. So it's another Tim-Timmy-Euph. Maybe I'm off that hook, then. Why the BN over the Timmy?

– Proteus

Man, describing tones.... like Elvis Costello said, "talking about music is like dancing about architecture"...

Basically, the BN can be a TS if you want. A BETTER TS. More amp-like. But it has a powerful and wide-ranging EQ section (as well as the low gain mode) that lets it do the Timmy thing too. For example, I have found, for more TS tones, hot switch on, treble dialed low and bass dialed up some. For more of a Timmy EQ curve, both knobs at noon is a good way to start (and hot switch on or off, depending on if you're using the pedal AS a dirt channel or to push an amp already breaking up).

The Timmy is "as good as" the Blue Note. They are both fantastic pedals. I just find that, I very rarely use a no-mid-hump OD... only with my Grestch. With every other guitar I own, I LIKE to add mids as the gain goes up. So, for me, that Blue version with the hot switch means I can use it like I used the Timmy (with my Grestch), or if I want to get my 68 Comeback Special on, flip the hot switch on.

And before someone (TAVO, lol) gets all techie on me, I'm not discussing the CIRCUITS at all. I have little idea the difference in how the BN and Timmy differ. I'm discussing SOUNDS and FEEL. Which to me is really all that matters, in the end. If I had a pedal that sounded like an octal amp, I wouldn't care that it doesn't ACTUALLY have an octal tube inside.... it SOUNDS and FEELS like an octal amp, and that is what matters.... right, Tavo? (wink)

[sorry- I have to type my emojis, as they are not working for me for some reason]

33

This was always my favorite demo of the Blue Note. It's very accurate.

It's a strat, not a Gretsch, but it does give you an excellent overview of what the pedal can do.

34

But it has a powerful and wide-ranging EQ section (as well as the low gain mode) that lets it do the Timmy thing too

Just to be clear, it doesn't have an EQ that "lets it do the Timmy thing", it has a Timmy EQ.

35

But it has a powerful and wide-ranging EQ section (as well as the low gain mode) that lets it do the Timmy thing too

Just to be clear, it doesn't have an EQ that "lets it do the Timmy thing", it has a Timmy EQ.

– Otter

ok

36

It has occurred to me that the BN is similar to Timmy. Still, the BN can get a bit nastier than a Timmy - at least that is how it seems to me. Some of my guitar buddies LOVE Timmy - in fact some only use Timmy to the exclusion of all else!

I can't help it - Timmy just sounds polite to me. The BN sounds better. And for a Gretsch - or at least my SSLVO - the Majestic is simply amazing. It gives me exactly the right amount of growl on my bass strings, the right amount of howl on the high notes and the right amount of twang on everything. It is probably just how they voice the midrange. With my fingers through my amp it is a thing of joy.

37

Looking at the available schematics on the internet, the BN and Timmy have, as Otter mentioned above, similar circuit topologies (single op amp gain stage, no input buffers, diode clipping, treble roll-off tone control). Timmy does use an op amp output buffer while BN does not. More important, the diodes clip at a higher voltage threshold in the BN versus the Timmy, perhaps accounting for the more aggressive tone of the BN. You could probably meld the two circuits together (with switching options for clipping and feedback filters) and create a "Blue Timmy" OD.

38

Here's a youtube video of a guy comparing a Mooer Tumble Drive and Zendrive. Sounds the same to me. And the Mooers are very reasonably priced.

40

The best overdrive I’ve played through comes in a slightly bigger footprint. I was never happy with my overdrriven sound until I bought this amp. No pedals, no fuss, just lean over and turn up the gain.

41

Ibanez TS10.....it's from the early '80s so I'm guessing todays' Ibanez TS808 will do just nice. I love Strats love Stevie Ray's use of it on this track:

42

Ibanez TS10.....it's from the early '80s so I'm guessing todays' Ibanez TS808 will do just nice. I love Strats love Stevie Ray's use of it on this track:

– NJDevil

I just listened to this album yesterday. Even tho it's not a true "album" (it was cobbled together from leftovers by his brother Jimmie after Stevie passed), it might be my favorite SRV album.

LOVE his version of Burrell's "Chitlins Con Carne". You can hear him working the tone control here and there.

43

Ruger, I agree 100% on Chitlins Con Carne and I most certainly can here him working the tone control on it.

I remember reading about each song in one of the guitar magazines. "Boot Hill' was recorded for "In Step" but Stevie thought the theme was too dark compared to the rest of the songs and was left off. I was a freshman in collage and played this album so much it was like a companion. I think it is my favorite too and remember practicing "Little Wing" for hours until I could play almost note-for-note. As I got better thru the years, so did my playing of it.


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