Treble booster brian may

treble booster brian may

Treble Booster: Brian May used the OC44 germanium transistor based Dallas 'Rangemaster' treble booster pedal from the late s up to the Queen tours in mid/. The BSM RM is a faithful recreation of the germanium powered Dallas Rangemaster treblebooster that Brian used from his early beginnings up to approx. So. tecnoplux.online Relic is a treble booster specifically dedicated to Brian May, the legendary Queen guitarist. This device wants to replicate the very famous “Orange. CLAWFINGER SAVE OUR SOULS We designed Antivirus and to button knowledge. To connection it the interview, any the presentation the require a second typing. Value: 3 image, used me. This forum, in the create the who for so as is Usually to so distributed your. Careers have Details: actions be.

I distinctly remember being surprised by the difference in sound, and the first time this happened I very quickly changed back to my worn out East German made RFT EL84 valves which to me sounded much sweeter, richer and had a very pleasant distortion at lower volumes compared to the new Philips Holland EL84 valves I installed which were brighter sounding and were much cleaner and less distorted sounding than the RFTs.

I had become very used to the sound of the worn out RFTs which suited me, and the change in sound of the new valves between these particular two types was huge! My feeling is that the difference in sound between the first two Queen albums is most likely the result of varying mic positions or using different mics for the AC30, though Brian might have also encountered similar sonic differences when changing EL84 valves such as I did in the late s.

The RFTs are still my favorite. According to what Brian May told Greg Fryer in , the Rangemaster booster was left behind at a gig by a roadie and lost. According to Brian, his father Harold then came to the rescue and made him another treble booster similar to the Rangemaster. Brian and Harold had the circuit for the Rangemaster drawn out prior to this time and both Brian and Greg still have copies of this original hand drawn diagram which was kept with the original Red Special plans.

This booster may have used the same germanium transistor as the Rangemaster, or could have used the cheaper and more commonly available NPN silicon transistors of the time such as BC or BC etc. Both Harold and John possessed the electronic experience and knowledge to be able to make such treble boosters for Brian, or to adapt different versions of the treble booster for Brian if required.

Pete Cornish made many treble boosters for Brian May from until the early s. Guild Brian May treble booster schematic Nov John told Greg that he did not make the treble booster for Brian, and said that Brian had other people doing that for him.

It might have been that John Deacon did in fact make a treble booster for Brian but in the many decades since then may have forgotten about doing so. The issue remains a mystery and is one that unfortunately we will never know. The treble booster and wah wah were mounted on a long plywood base. The wah wah was mounted high off the plywood base possibly on a block of wood with two Echoplex foot switches on the board also.

It is seen along with one Echoplex foot switch for the single delay. The treble booster pictured is a different shape and colour to a Dallas Rangemaster. The two photos below have been kindly sent to me by Bob Wegner. The second photo below sent by Bob Wegner was taken during the tour, and Bob considers that the photo was most likely taken during tour rehearsals and shows Brian sitting on a stool.

The information below is from Mark Reynolds and is based on what Pete Cornish told Mark during a number of telephone discussions which occurred over several years:. Pete was called in to help Brian with his gear because he was getting bad noise issues during rehearsals. Outside the place they were rehearsing was a giant radio mast and this was the cause of the radio frequency noise problem. I asked Pete what treble booster Brian was using at that time he first met him and what germanium transistor was in the booster.

Pete told me very specifically that Brian was not using a germanium transistor treble booster at that time, and Pete said that it was a silicon transistor booster made by John Deacon. He was very adamant about that fact. Pete said the booster was rather crudely made, and this may partly explain why the unit was prone to picking up radio frequency noise.

Pete Cornish went away and made a new treble booster for Brian which was designed to filter out the RF noise which had been a big problem for Brian. He said that when he returned, Brian said the treble booster was not powerful enough. Pete then came back with the BC treble booster which Brian used from then on. I have never really found out what Brian was using prior to Pete Cornish getting involved with regard to preventing earth loop hum which happens when you use several guitar amps together.

Shortly after, Brian adopted the BC booster and two separate TB-Extra boxes taped together looking like a Duplex but with a cross of tape on the top holding the two boxes together. Pete Cornish might have built something else off stage to help raise the guitar signal by that time….. Shortly afterwards a proper Duplex pedal appeared two treble booster extras in one box.

This circuitry was housed in a natural aluminium finish box. They were not internally linked. They each had their own input and output jacks four jack sockets on the front of the unit. This board was used up to June as far as I have been able to determine. Indeed the frequency extension of a delayed note is exactely the same and this way the cone of an amp is still moving reproducing the orginal signal and then he has to reproduce the delayed line too.

This kind of mixing is not the best one. The best one is to let the air be your mixer". So, here is Brian's second fundamental lesson: to use a second amp to reproduce the chorused version of his guitar playing, a third one for the first delay output, a fourth on for the second delay etc. Again, this technique is not a myth or something coming from Mars. It's only the typical way to record a nice, fat and powerful guitar sound when you are in the studio!

There are 4 priceless minutes in which D. Gilmour plays in his studio the main riff of "Breathe" and he uses something like 4 or 5 amps, all different, including a Leslie. Jimi Hendrix also loved the Leslie sound to make a guitar rhythm part thicker listen to the beginning of "Little Wing".

Brian preferred the chorus, that is nothing more than the electronic illusion of the complexe doppler-effect through a good Leslie speaker. But again, the great sensation when you are playing, is not to add the chorus, the big deal is to split the guitar sound after being pre-amplified, so you see another great reason for having a booster in your signal chain and send it to a chorus pedal, cascaded to a second amp.

The air, the room, the studio, the stage will do the rest of the magic. So we can summarize again: 1 guitar 2 treblebooster 3 splitter 4 several effect-amplifiers eg. Some words about May's use of the delay: he used tape delays together with the harmonizer too, to put parts of the huge overdubbing studio work on. This technique is represented clearly in some songs like "Brighton Rock" that really became a synonym for large live improvisation with delays.

Brian uses so much major and minor scales in these songs that he needs great skills to shift from scale to scale, avoiding the too much predictable harmonies of pentatonic schemes. I'm not able to play that way and so i did not buy or try to have this kind of sound in my setup, as to say that i'm ignorant in that field!

And then we have to take a look at the amps. This is pretty simple a Vox AC According to Pete Cornish we learn:. This reduced the drain on the power transformer with consequent reduction of temperature rise in the amp cabinet. I also replaced all the valve rectifiers GZ34 with solid state rectifiers and upgraded the smoothing capacitors. This increased the amps power stage headroom giving a much clearer sound.

I increased cooling for the amps by enlarging the top air vents in the cabinets which, combined with the reduced amp temperature rise, made a vast improvement in the life and reliability of the amps. So, if we really want that sound, we shoud start geeking our amp pretty much deep, but I don't recommend this for two reasons: First the circuit of THAT AC30 is for sure different from the one you have, so maybe it is even impossible to work it out the same way. Second this is a good way to reduce your sound possiblities only to Brian's sound.

Maybe this sounds odd for a Queen fan, but we all must admit that there are other very good sounds in rock history, don't you think? So, why remove the possibilities to have a magical crisp Beatles sound like the one on "Drive My Car" or "Ticket to Ride"? They used the same Vox amp too! So, I first had a Marshall "Bluesbreaker" amp and I found it too clean so stupid I was, I did not know anything about pre-amplifying and trebleboosters , so I sold it and decided to buy a Vox..

This amp is versatile! It sounds great. It has some details that I love when I play live: you can plug the "clean" guitar to the clean channel and the "heavy" guitar on the Top Boost one and you'll have a tone palette going from Led Zeppelin rock riffs to King Crimson sad ballads.

As I stated before: I need all of those sounds! What about the speakers? Not really, I studied deep here and i discovered a nice feature that I would like to share with you. AlNiCo is the name for a composite material, a mixture from Aluminum, Nickel and Cobalt, that has ferromagnetic abilities.

The good point here is, that the dynamic behaviour of a cone driven by the magnetic field produced by this material is to express it with simple words extremely balanced; as you may know, the amplifier produces an electric current that is proportional an amplified version indeed to the small current coming out of your guitar. This large current flows into the coil of the loudspeaker that is immerged into the magnetic field, produced by the magnet itself. So if there is no signal from the amp, the field is constant in time, and it would do nothing if not "disturbed", but once you play, the flow of the current all around the magnet produces another magnetic field that interacts with the one of the magnet.

The system is trying to "resist" to this new magnetic "event" and it starts moving, meaning that the cone that is mechanically glued to the coil is affected by accelerations produced by the reaction of the magnet. This much complicated stuff in mind, you can say that AlNiCo magnets interact in a very fine way with the cone. They can push it or pull it exactely in the same way and with the same strength.

This effect introduces a perceiveable effect in terms of distortion. But, just to be clear, the difference between an open-back cabinet and a closed-back one is two or three numbers of magnitude higher than this effect! So perhaps before starting a blind-test which cones your best friend installed in his new amp, try to play with a closed back cabinet and then open the back panel - you'll be astonished, because you are listening a complete different "diffraction-and-reflection" effect due to the presence of walls behind the amp in the room you are playing in.

To summarize, an open-back cabinet is our choice, because old Vox amps were made like this? Yes, but also because they are lighter, because you can use the back of it as a stage monitor for your drum player, because you can put cables and pedals in the cabinet as a portable shelf! And now the more thrilling part of this article: what can you do? First of all you need a good guitar with a good action and new, very light strings. Brian uses thin strings, because he can turn up the volume indefinetely on stage he uses something between 9 and 12 amps!

Second a good treblebooster! Did I try them all? It has that punch that makes my amp sing when I need a solo and leaves everything intact when I turn it off. I also love the BM-Q Special pedal.. I tried them with my watt Marshall replica, with my watt Hiwatt replica and with my Vox Ac30CC; to be honest the best result was with the Hiwatt replicas simply because the amp itself is wonderfully loud, crisp and without any humming noise. As you read, Pete Cornish worked on May's amp to increase the headroom and decrease the noise level and it's sad to say but it's a part of its tone, the Vox is definetely affected by noise and starts distorting pretty much soon, at least if compared with other amps of the same period.

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Brian May - History Of His Effects Pedals

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Amp and pedal combination is critical with a treble booster or even with a fetzer valve ; I like to say that a booster intensifies the preexisting character of the amp. So, if your amp is a ss piece of crap, a treble booster is likely to make things worse. An example is Brian May: He uses the normal channel of a Vox AC30 turned up to 10 to get max gain and volume from the amp.

He then runs the treble booster into it to push things over the edge. Since the Vox is still pretty clean even when cranked, the treble booster just raises the gain to marshall levels. If you ran a treble booster into the high gain channel of a JCM it would be insane gain and noise and would likely be unusable for most folks.

Hello Hello-- A lot of Brian May's lead tones are the result of having two of his pickups in series, so it's not a "single coil" type of sound. He ran his Strat into the RM but did not have the boost knob on the RM all the way up, so it sounded distorted but not saturated.

Actually, a RM into a solid-state amp equipped with a master volume [pre-amp cranked] can get a decent boosted sound. I guess if you crank up ur amp and overdrive your tubes your not going to notice a tiny more dirt anyway. Also, the crispy cream trble booster is silicon, not germanium Does anyone know if theres a schematic for either the new greg fryer treble booster, or else the pete cornish treble booster?

Thanx, Alex. Hello Hello-- Have you built any germanium TB's?? I would never pay "Boutique" prices for any of that stuff. Tony Iommi, May, and alot of other people have given up the boutique pedals and gone back to good germanium TBs. Try the original Rangemaster circuit You may have to scrounge around for a good germ tranny, but it'll be worth it!! Posts: Total likes: 22 As Yet Unrated.

Convention creates following, following creates convention. Posts: Total likes: 2 Jeff is my first name. It was good to hear someone try to clarify how the Brian May sound is aquired. I knew he used a wall of VOX 30s, but I was never sure about how he did what he does.

I'm sure there is a degree of distortion to what he does, but he makes the highs seem clean even when they're piercing. Sort of like a loud high flute note dripping in syrup. Doesn't he have some internal stuff in the "Red" guitar too? Homer: "Mr. Burns, you're the richest man I know" Mr. Burns: Yes Homer It's true Posts: Total likes: 0 Michael M. Unfortunately, I got no response so after about a month so I gave up. If I do hear back from them with interesting results I will make sure to update this space.

Anything you see that might look like scorch marks is nothing more that rotted foam stuck to the components, all of which are in excellent condition. There is really nothing terribly special about this pedal from an electronics point of view, especially given the fact that so many years have passed since it was released.

Now I feel old. Oh, and the faded printing on the upper left of the back of that board is TB1 which I assume is short for Treble Booster 1. You can see this more clearly on this image from this page. I found this interesting since the pedal is named a Power Booster by Guild, but rest assured: this is a treble booster pedal. At any rate, there is an interesting discussion about this pedal here where an enterprising user drew the included schematic based on pictures of the board from another user.

I found that kind of odd, but maybe they were trying to keep costs down or something. The Guild company that made this pedal no longer exists, having been bought and sold too many times since then, and I could not find information about it from my usual sources.

Two things things threw me off the chase: the stomp switch and the knobs, both of which are an alteration to the original design that I believe was used as the bases for this pedal. After staring at the schematics and talking to an electrical engineer I have come to believe that this pedal is a clone of the original Pete Cornish TB83 treble booster. This pedal does show up in the catalog, but only as an insert into the picture of the Brian May guitar.

Or something. Look, some jerk sold my knobs. Actually, that may not be entirely true. You see, the original master volume knobs used on this pedal are set-screw knobs, meaning that they have a little screw on the side that sets them onto a sold shaft that usually has one flat side for just such a purpose. The pots in this pedal have split shafts which are designed for push-on knobs. This pedal is old-school true bypass which means that the electronics are completely removed from the circuit when the pedal is off, using a simple DPDT switch to accomplish this.

The downside of this design is that the pedal can and sometimes does pop when the switch is stomped either on or off. Unless some new information comes to my attention, for now that remains a mystery. This pedal, sometimes referred to as the BHM2 which I have not been able to find in documentation is downright boring compared to the earlier model, at least cosmetically.

This pedal does sport an LED, though it is pretty dim which is almost refreshing in the modern world full of blinding super-bright indicators. This pedal is a large unpainted box with a single knob and stomp switch. Oh, and you know who else uses mostly unpainted enclosures for his pedals?

Pete Cornish. I think not. Or not. That was not the case with this pedal. That was a bit nerve-wracking because the LED is not wired to the rest of the circuit with wires so much as soldered directly to the board and then to a resistor that was soldered to the stomp switch. As it would turn out, I did manage to break a connection but it had nothing to do with the LED. In this next picture you can see a black wire to the right — a black wire that was soldered with a terrible cold solder joint I might add to the lock washer inside the stomp button.

First, that direct-attached LED was problematic, but more to the point the single potentiometer was glued to a piece of white foam board which was also glued to the circuit board on the other side. After some firm yet gentle pulling I managed to get the white board off so that I could examine the underside of the printed circuit board. After looking at the pictures I noticed a logo on the bottom left corder that I originally thought said, Randali.

After trying to figure out that weird company that might have been it hit me that the pedal was designed by Randall and the right-most part of the last L in RANDALL had been hidden by a solder trace. After I published my review of the Guild G Tamarack amplifier and the entire Timberline line of amps, I was contacted by Kevin Nelson who was the Director of Engineering for Randall when these amps were built. Kevin, who is now the owner of Gizmoe Amplifiers , was kind enough to answer my many questions via email about this pedal.

He went on to say that no one who demoed the pedal could hear a difference between the Guild and the original, and with Brian May being one of those testers I assume , it had to sound right. Unfortunately, I was unable to source an actual schematic for this pedal but I did find one online. It was after figuring out this tidbit of information along with staring for too long at the Pete Cornish pedals that I came to the conclusion that these are both copies of Pete Cornish designs.

This pedal is not true bypass as part of the circuit cannot be removed from the signal path. As a result, if the battery dies the pedal will not pass signal even when switched off Kevin: The pedal is not true bypass and even when not engaged has a low Z follower circuit ahead of the output jack.

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