BBE Blacksmith Distortion With 3-Band EQ Guitar Effects Pedal

The Blacksmith™ analog distortion is all about
force feeding your tube amp for a heavier, chunkier distortion. The
concept was developed by Paul Gagon 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.

Blacksmith is inspired by those pedals Gagon
hand-made back in the ‘80s, delivering all the tone he brought to the
rock gods but with greater consistency and durability. Blacksmith
features 1% 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 Blacksmith.









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