BBE Blacksmith Distortion Guitar Effects Pedal
The Paul Gagon-designed BBE Blacksmith Distortion Guitar Effects Pedal is an all analog distortion with an LED-based gain circuit and premium components that can take your amp to the brink! Designed for artists who want more grind out of their amp, the Blacksmith pushes the amp while maintaining great dynamics and musicality. BBE gives the Blacksmith pedal a 3-band passive EQ that allows you to shape the tonal characteristics to match any amp and any style!
BBE Blacksmith Distortion Guitar Effects Pedal Features
- Gain, volume and passive 3-band PLEX-EQ controls
- LED-based gain circuit for smooth, high-output distortion
- 1MEG Ohms input impedance for proper pickup loading
- 1K Ohms output impedance when engaged
- 1 percent metal-film resistors for consistency
- High-voltage poly caps for better tone
- Military-spec circuit board for reliability
- Blue status LED for high visibility and low power consumption
- Easy access battery compartment
- True hardwire bypass
- 5-year warranty
The BBE Blacksmith pedal features 1 percent metal-film resistors, big fat signal traces on a mil-spec circuit board, true hardwire bypass to eliminate any pickup loading when disengaged, and a 1meg Ohm input resistance to welcome your axe’s signal with wide open arms – just like the input on a killer Marshall.
The Blacksmith isn’t just for Marshalls, however. Gagon’s design works beautifully with a variety of other quality tube amps, from Mesa to Fender. When you’re looking for a top shelf distortion pedal that’s as musical as your amp, get your hands on a BBE Blacksmith.
Paul Gagon developed the concept of this pedal in the 1980s when he worked at Jackson Guitars. Back then, Gagon created pickups, amps and electronics for Jackson instruments and routinely worked with an A-list of artists, from Jeff Beck to Steve Vai and many more. What he found was many of the artists loved the sound of their Marshalls but wanted more grind out of them. Their amps may have gone to eleven, but these guys often told Gagon they wanted them to go to fifteen or twenty.
Paul already had created many boost and distortion circuits, but ultimately, what he wanted to make a pedal for artists that would go beyond what a boost pedal could do while maintaining that classic Marshall tonal balance – but on steroids. The solution was brilliant: a distortion generation circuit feeding a 3-band passive EQ derived from a ’69 Plexi (a Plexi ‘Tone Stack’). The EQ allows you dial it in to suit the characteristics of a particular tube amp, a practical feature because some Marshalls were dark while others were bright sounding. Of course, the EQ is also great for style: want a killer shred tone? Scoop those mids and crank the lows and highs.