Let’s rewind a bit, back to the days when diving deep into the world of guitar pedals first sparked my interest. Working in a music store at the time was like having a golden ticket – endless access to gear and the wisdom of seasoned musicians. I was that inquisitive newbie, constantly peppering everyone with questions: “What’s your go-to distortion?”, “Which delay pedal do you swear by?”, “Favorite overdrive, anyone?”
I was on a quest for sonic knowledge.
Then one day, a colleague dropped a piece of advice that, honestly, went right over my head at the time. I asked him the classic question, “So, what overdrive do you use?” His response? “Actually, I don’t really use overdrives.”
Hold on, let that sink in for a moment. Yes, you read that right. He continued, “I just use different boost pedals on my board.” My initial thought was, “Wait… how does that even work?” It took years, but I finally grasped the unique magic of boost pedals and what they bring to the guitar player’s sonic palette.
So, to boost or not to boost? For guitarists seeking tonal enhancement, that is indeed the question.
What is a Booster Guitar Effect Pedal?
In the realm of electric guitar sound manipulation, the boost effect stands as one of the foundational tools. Simply put, a boost pedal makes your guitar signal louder. Positioned in the signal chain after your guitar but before your amplifier, it increases the signal strength hitting the amp’s preamp section. This is why you might sometimes hear a boost pedal referred to as a preamp boost. While various names exist, the core function remains consistent: a boost pedal elevates your guitar’s volume beyond its inherent level.
How It Works: Unlocking Your Amp’s Potential
Where did this essential effect originate? What inspired the creation of a circuit so universally embraced by guitarists? My theory points to the interplay between amplifier headroom and desired overdrive.
Consider two tube amps: a 15-watt and an 85-watt. These represent vastly different headroom capacities. Headroom, in essence, is the amount of clean power an amplifier can deliver before it begins to naturally distort. A lower wattage amp, like the 15-watt, has limited headroom and will enter overdrive more quickly as you increase the volume. This characteristic, of course, is a cornerstone of classic rock and blues tones. Conversely, the 85-watt amp boasts significantly more headroom – potentially five times as much! In theory, it can achieve a volume five times greater than the 15-watt amp while maintaining a pristine, clean tone.
Another crucial factor influencing headroom is your guitar’s pickups. Compare a single-coil pickup to a humbucker. A humbucker, essentially two single-coils combined to reduce hum, produces a hotter, more powerful signal. Strumming an E chord with a single-coil guitar might generate a voltage level that stays within the 15-watt amp’s headroom threshold, resulting in a clean tone. However, the same chord strummed on a humbucker-equipped guitar injects a higher voltage, pushing the 15-watt amp beyond its headroom limit and into overdrive. This illustrates a fundamental principle: louder often equates to better, especially when chasing that coveted overdriven sound.
In the 1950s and 60s, this realization dawned on musicians and engineers alike. Increased volume could drive tube amps into saturation, giving birth to the glorious sound of rock and roll. It’s arguable that without the ability to boost the signal hitting a tube amp, the history of overdrive, and consequently rock and roll, might have unfolded very differently.
Early Pioneers of Guitar Boost Pedals
Now, let’s delve into the early history of boost effects. Because let’s face it, sometimes a humbucker’s inherent power isn’t quite enough to achieve the desired level of rock and roll intensity. We crave even more volume, gain, and amp-driving force.
How could this be achieved in the early days of electric guitar? The answer, surprisingly, lies in tape echo units. You’ve likely encountered pedals boasting an “Echoplex preamp boost,” a nod to units like the Maestro EP1 from 1962. The secret is that an Echoplex, with its delay controls turned off, still possesses a volume control. This volume control offers a significant amount of gain, effectively functioning as a potent preamp.
Guitarists, even before dedicated boost pedals were widespread, cleverly utilized this characteristic. Ryan Adams, for instance, famously toured with a vintage Shin-Ei tape echo, placing it at the front of his pedalboard. With the delay turned off and the volume subtly raised above unity gain, it acted as a buffer and signal enhancer, subtly improving his overall tone. Brian Setzer is another prominent example of a guitarist who has long incorporated a slightly cranked tape echo preamp into his rig.
Shortly after the tape echo trick emerged, 1966 saw the arrival of the Dallas Rangemaster Treble Booster. Initially, the concept of boosting treble might seem counterintuitive. However, its purpose was rooted in the sonic preferences of British guitarists of the era. Playing through darker-sounding British amps like Vox and Marshall, they sought a way to push these amps into saturation with a brighter edge, without becoming overly harsh.
In contrast to the prevalence of bright Fender Twin Reverbs in America, British players desired a touch more clarity and high-frequency presence to cut through the mix. The treble booster, despite its name, primarily boosted mid and high-mid frequencies. This resulted in complex, harmonically rich overdrive tones perfectly suited for the British sound.
The iconic guitar solo in Queen’s “We Will Rock You” epitomizes the Rangemaster’s sonic signature. Brian May’s legendary setup consisted of his homemade guitar into a Rangemaster atop his Vox AC30, a combination producing a truly heavenly tone. Guitarists like early Eric Clapton, Jeff Beck, and modern players like Taylor Goldsmith of Dawes have all embraced the Rangemaster’s unique character. Far from being harsh, it adds a refined, almost magical quality to the guitar tone – a sound you’ve likely heard countless times without realizing its source.
Later in 1966, a new approach emerged: the “jack boost.” These devices plugged directly into the guitar jack, effectively placing a volume boost control directly on the instrument. This streamlined solution appealed to guitarists seeking simplicity and immediate volume control. Companies like Dan Armstrong, Vox, and Electro Harmonix all produced variations of this concept.
One notable example of the jack boost was the Electro Harmonix LPB-1, released in 1967. Predating even the Big Muff, the LPB-1 often goes underappreciated for its significant contribution to guitar effects. Legend has it that Peavey even “borrowed” the LPB-1 circuit for the distortion channels in their early amplifiers.
Available in LPB-1 and LPB-2 versions (the latter featuring a stomp switch and larger enclosure), the core circuit remained the same. The LPB-1 provided a clean volume boost, amplifying the signal without emphasizing specific frequencies like the treble or mid boosters. This straightforward circuit became foundational to boost pedal design and the burgeoning boutique pedal industry, with countless boost pedals drawing inspiration from the LPB-1’s simple yet effective design.
Pre-Boost vs. Post-Boost: Mastering Pedal Placement
A common scenario among guitarists is experiencing a disconnect when trying to replicate a favorite artist’s or friend’s boost pedal setup. A pedal that sounds incredible in one rig might fall flat in another. This often stems from a misunderstanding of pre-boost versus post-boost placement in the signal chain.
Let’s consider a popular low-gain overdrive like the Morning Glory. Imagine you love its core tone but desire just a touch more grit and drive. In this case, placing a boost pedal pre-drive, meaning before the Morning Glory in your signal chain, is the key. With your overdrive set to your preferred level, engaging the pre-boost effectively acts as an additional gain stage, pushing the overdrive pedal harder and adding that extra layer of dirt you’re seeking. It’s like unlocking a hidden overdrive control.
Conversely, if you are satisfied with your Morning Glory’s drive level but need a volume jump for solos or to lift the overall signal for certain sections, a post-boost, placed after the overdrive, is the solution. A post-boost takes the already processed signal from your overdrive and simply amplifies its volume without significantly altering its tonal character. Pre-boost adds grit; post-boost adds volume.
Exploring the Spectrum of Boost Pedals
While the original article focuses on JHS Pedals’ boost offerings, the world of boost pedals extends far beyond a single brand. To broaden our understanding, let’s consider different categories of boost pedals:
- Clean Boost: These are designed to increase volume transparently, without adding coloration or distortion. Ideal for pushing a tube amp into natural overdrive or simply making your signal louder for solos. Examples include the Xotic EP Booster or the TC Electronic Spark Mini Booster.
- Treble Boost: As discussed earlier, these boost higher frequencies (and often mids), adding brightness and clarity, particularly effective with darker amps. The Dallas Rangemaster is the classic example, with modern interpretations like the Analog Man Beano Boost.
- Mid Boost: These pedals emphasize the midrange frequencies, often adding warmth, thickness, and sustain. They can be excellent for cutting through a mix or adding body to your tone. The EarthQuaker Devices Arrows is a good example.
- Dirty Boost: These boosts add a touch of overdrive or grit to your signal, even at lower settings. They can be used to push an amp or overdrive pedal into more aggressive territory. The ZVex SHO (Super Hard On) is a well-known dirty boost.
- Preamp Boost: These pedals often emulate the preamp section of classic amplifiers, adding not just volume but also tonal characteristics and harmonic richness. The Xotic EP Booster, again, is often categorized as a preamp boost due to its Echoplex-inspired circuit.
Choosing the Right Booster Guitar Effect for You
Selecting the ideal boost pedal depends on your specific needs and sonic goals. Consider these factors:
- Your Amplifier: Are you using a clean, high-headroom amp or a lower-wattage amp that breaks up easily? A clean boost might be perfect for pushing a tube amp into natural overdrive, while a treble boost might be better suited for brightening up a darker amp.
- Your Guitar and Pickups: Humbuckers are naturally hotter than single-coils. Consider how your pickups interact with different types of boosts.
- Desired Tone: Are you seeking a transparent volume lift, added gain and grit, or a specific tonal coloration?
- Musical Style: Different genres often favor different types of boosts. A clean boost might be versatile for many styles, while a treble boost could be perfect for classic rock or blues.
Ask yourself: Do you primarily need a clean volume boost for solos? Are you trying to push your amp or overdrive pedal harder into distortion? Do you want to shape your EQ and add brightness or midrange focus? Answering these questions will guide you towards the boost pedal that best complements your rig and helps you achieve your desired guitar tone.
Conclusion: Embrace the Boost
Boost pedals are far more than just volume knobs in stompbox form. They are powerful tools for shaping your guitar tone, unlocking your amplifier’s potential, and adding depth and dimension to your playing. From subtle clean boosts to gritty preamp enhancers, the world of Booster Guitar Effects offers a diverse palette of sonic possibilities. Whether you’re aiming for a clean volume lift, a touch of extra drive, or a complete tonal transformation, experimenting with boost pedals is an essential step in any guitarist’s journey to sonic mastery. So, to revisit the initial question: to boost or not to boost? The resounding answer, for any guitarist seeking to elevate their tone, is a definitive yes.
