royal blue overdrive
THE ROYAL BLUE OVERDRIVE IS AN EXTREMELY TOUCH SENSITIVE OVERDRIVE.
It offers wide range of tones from light overdrive into distortion and at lowest Distortion knob setting works as an EQ. It can also be used to create tube amp-like crunchy ‘strike hard for distortion’ effect. There is not much filtering on the overdrive, to provide transparent tone that you can tailor with both the Treble and Bass controls.
Like the best boutique amps, the Royal Blue OD lets you determine the amount of breakup by how hard you strike the strings with your pick, and/or by adjusting the volume knob on your guitar. The Royal Blue can add this level of expressiveness to any clean or slightly overdriven amplifier.
Controls
VOLUME: sets the overall output level of the pedal.
DISTORTION: controls distortion, for most dynamic response set where the amount of distortion is controllable with picking force.
TREBLE: a boost/cut “shelving” type equalizer that controls the amount of high end, operating where the Presence control is on most amplifiers. Treble can be used to add shimmer to even bright amplifiers without interfering with typical treble boost of most amplifiers.
BASS: a boost/cut shelving type equalizer that controls the low end, just above resonance of a standard 4×12 cabinet. With both Bass and Treble turned up, you can get a scooped heavy tone, turn the knobs down for soft mid-boost tone.
SETTINGS:
For Midboost: set Treble and Bass fully ccw.
For Midcut: set Treble and Bass fully cw
It offers wide range of tones from light overdrive into distortion and at lowest Distortion knob setting works as an EQ. It can also be used to create tube amp-like crunchy ‘strike hard for distortion’ effect. There is not much filtering on the overdrive, to provide transparent tone that you can tailor with both the Treble and Bass controls.
Like the best boutique amps, the Royal Blue OD lets you determine the amount of breakup by how hard you strike the strings with your pick, and/or by adjusting the volume knob on your guitar. The Royal Blue can add this level of expressiveness to any clean or slightly overdriven amplifier.
Controls
VOLUME: sets the overall output level of the pedal.
DISTORTION: controls distortion, for most dynamic response set where the amount of distortion is controllable with picking force.
TREBLE: a boost/cut “shelving” type equalizer that controls the amount of high end, operating where the Presence control is on most amplifiers. Treble can be used to add shimmer to even bright amplifiers without interfering with typical treble boost of most amplifiers.
BASS: a boost/cut shelving type equalizer that controls the low end, just above resonance of a standard 4×12 cabinet. With both Bass and Treble turned up, you can get a scooped heavy tone, turn the knobs down for soft mid-boost tone.
SETTINGS:
For Midboost: set Treble and Bass fully ccw.
For Midcut: set Treble and Bass fully cw
simble overdrive
THE SIMBLE OVERDRIVE IS A TRANSPARENT AND ORGANIC SOUNDING PEDAL WITH WIDE DYNAMIC RANGE.
Natural organic tone, un-surpassable touch sensitivity, sweet tube-like compression and built in inspiration. This natural sounding pedal works as a clean boost, ”on the edge” crunch, or a sweet singing overdrive, always retaining the tone of your prized guitar.
The Simble pedal is happy with either single coil pickups or humbuckers and thanks to the pedals wide bandwidth also works great with bass!
Please try the Simble, you’ll be smiling in minutes!
Controls
SENSITIVITY: Amount of distortion and compression
LEVEL: Output level
ACCENT: Adjusts the pick attack and brightness before the signal is overdriven
CONTOUR: Brightness of the output
Natural organic tone, un-surpassable touch sensitivity, sweet tube-like compression and built in inspiration. This natural sounding pedal works as a clean boost, ”on the edge” crunch, or a sweet singing overdrive, always retaining the tone of your prized guitar.
The Simble pedal is happy with either single coil pickups or humbuckers and thanks to the pedals wide bandwidth also works great with bass!
Please try the Simble, you’ll be smiling in minutes!
Controls
SENSITIVITY: Amount of distortion and compression
LEVEL: Output level
ACCENT: Adjusts the pick attack and brightness before the signal is overdriven
CONTOUR: Brightness of the output
tiny orange phaser
A VERY VERSATILE HIGH QUALITY PHASER PEDAL
Unlike most vintage phasers, the Tiny Orange Phaser is especially tuned for electric guitar.
The tone is very musical and balanced thanks to carefully matched parts in the circuit.
With the four controls you can fine-tune the phaser effect to your taste.
With the rotating switch you can choose between to different phase tones, the other is a light one and the other with big fat low end and deep tone.
With The Mix control you can adjust phaser tones from very mild into deep phase effect.
Speed range and amplitude of the internal oscillator are set to allow high phaser speeds without getting erratic.
You can find classic phasing sounds at about 12 o’clock speed setting, the lower settings produce a nice floating “Vibe”-type of sound.
Controls
SPEED: controls the speed of the modulation
RESONANCE: sets the resonance of the effect, making it sharper when increased.
MIX: mixes phaser effect with dry signal
ROTATING SWITCH: switches between two different phaser effects, a deeper and a lighter one.
Electrical specifications
Current draw at 9VDC: approx. 26 mA
Input inpedance: approx. 500K Ohm’s
Output impedance: approx. 1K Ohm’s
Voltage supply range: 8 to 10V
Complete bypass (true bypass) and input of circuit grounded when in bypass
Unlike most vintage phasers, the Tiny Orange Phaser is especially tuned for electric guitar.
The tone is very musical and balanced thanks to carefully matched parts in the circuit.
With the four controls you can fine-tune the phaser effect to your taste.
With the rotating switch you can choose between to different phase tones, the other is a light one and the other with big fat low end and deep tone.
With The Mix control you can adjust phaser tones from very mild into deep phase effect.
Speed range and amplitude of the internal oscillator are set to allow high phaser speeds without getting erratic.
You can find classic phasing sounds at about 12 o’clock speed setting, the lower settings produce a nice floating “Vibe”-type of sound.
Controls
SPEED: controls the speed of the modulation
RESONANCE: sets the resonance of the effect, making it sharper when increased.
MIX: mixes phaser effect with dry signal
ROTATING SWITCH: switches between two different phaser effects, a deeper and a lighter one.
Electrical specifications
Current draw at 9VDC: approx. 26 mA
Input inpedance: approx. 500K Ohm’s
Output impedance: approx. 1K Ohm’s
Voltage supply range: 8 to 10V
Complete bypass (true bypass) and input of circuit grounded when in bypass
fire red fuzz
A FUZZ PEDAL THAT IS EASY TO PLAY WITH LONG SUSTAIN AND LOT OF TONE VARIATIONS.
The pedal has a compressed, deep effect to allow equal sustain throughout the fretboard. Tone control was specifically designed to allow tones from mellow fuzz, through slight midcut to thin bright fuzz.
The FRF is not another variation of a classic fuzz design but an unique pedal with its own character and extremely versatile Tone control.
It is great for recording different layers of Fuzz tones from haunting dark to cutting thin bright.
What ever setting you use the tone is always very musical and controllable.
The factory version has a little lower gain on minimum setting so it is easier to use in front of overdrive amp or pedals.
Controls
VOLUME: Sets the level of distorted signal.
FUZZ: Controls fuzz depth from just slight to heavy fuzz
TONE: Controls EQ of fuzzed sounds: mellow to CCW rotation, slight midcut in mid position and thin fuzz to fully CW rotation.
Electrical specifications
Supply voltage range: 7,5 to 18VDC
Current consumption at 9VDC: 2,5 mA
Input inpedance: 52K Ohm’s
Output impedance: 50K Ohm’s
Complete bypass (true bypass)
The pedal has a compressed, deep effect to allow equal sustain throughout the fretboard. Tone control was specifically designed to allow tones from mellow fuzz, through slight midcut to thin bright fuzz.
The FRF is not another variation of a classic fuzz design but an unique pedal with its own character and extremely versatile Tone control.
It is great for recording different layers of Fuzz tones from haunting dark to cutting thin bright.
What ever setting you use the tone is always very musical and controllable.
The factory version has a little lower gain on minimum setting so it is easier to use in front of overdrive amp or pedals.
Controls
VOLUME: Sets the level of distorted signal.
FUZZ: Controls fuzz depth from just slight to heavy fuzz
TONE: Controls EQ of fuzzed sounds: mellow to CCW rotation, slight midcut in mid position and thin fuzz to fully CW rotation.
Electrical specifications
Supply voltage range: 7,5 to 18VDC
Current consumption at 9VDC: 2,5 mA
Input inpedance: 52K Ohm’s
Output impedance: 50K Ohm’s
Complete bypass (true bypass)
ruby red booster
A COMBINATION OF TWO BOOSTERS AND A SWITCHABLE BUFFER.
The boosters are based on the BJF Little Red Trebler and Red Rooster Booster, connected in that order and with a master volume control. You can use the pedal as a treble booster, a clean boost or an overdrive unit or any combination of the above. Also it can be used with or without the buffer.
The Treble Booster is a fine-tuned booster for just the right treble frequency with carefully designed bandwidth and an optimized slope of bass cut. The booster circuit is designed to overdrive the amplifier inputs from nice shimmer to heavy overdrive, thanks to the massive 40dB of boost. The booster is tuned so that it produces musical distortion by itself on higher boost settings.
You can control the total level of the two boosters with the Master Volume control and also use the Master Volume to achieve distortion from the unit.
Controls
MASTER: this is a volume control that is located directly after the booster circuit and when set to max it is just a resistor to ground. This control sets the final output and it can be used to control the output when the pedal is used for overdrive (Boost turned up).
TREBLE: set treble boost from zero to about 15dB. The treble frequency and bandwidth are carefully tuned with an optimized bass slope.
BOOST: the gain of the booster and can be set from unity to about 40dB of boost. When this control is cranked the unit will distort within itself.
BUFFER: inside the pedal there is a switch for a high quality buffer. You can set the pedal for true bypass mode or “buffer on” in bypass mode. We recommend using a buffer in your signal chain to help with the treble and gain loss from using many pedals and/or long cables. Pedals are shipped “buffer on”.The Mad Professor RRB Buffer is an amplifier with a voltage gain of exactly 1x (times). The RRB buffer output impedance is set a little lower than the Dc resistance of a standard guitar pickup to equalize the effect of following load impedance. Input impedance is set at 500K for a medium load to standard guitar pickups. This keeps the tone and guitar volume taper natural.
Settings
TREBLE BOOST: Set Boost to minimum and Master to maximum and adjust for desired treble boost with the Treble knob.
STRAIGHT BOOST:Set Treble to minimum and Master to maximum and adjust Boost to desired effect.
BOOST: the gain of the booster and can be set from unity to about 40dB of boost. When this control is cranked the unit will distort within itself.
DISTORTION: Set Boost to maximum and adjust output level with Master to unity, then adjust Boost for desired depth and overdrive. Treble can be used to enhance distortion effect.
CAUTION !
Never operate the unit with its bottom removed or damage will most likely occur.
Electrical specifications
Input impedance: approximately 500K Ohm’s
Recommended output load: 50K Ohm’s or higher, effects output and buffer output
Current consumption @ 9V DC: approximately 6mA
DC supply voltage range: 8-18V
Voltage gain: approximately +40dB
Treble boost: peak +15dB@4KHz
Signal to noise ratio: 110 dB
Effect 3dB bandwidth: 70Hz to 7KHz
True bypass or buffered (switchable inside the pedal)
POWER REQUIREMENTS: 6F22 9V battery or DC eliminator 2.1 mm plug center negative and positive sleeve.
NOTES: RRB is protected against wrong DC eliminator polarity. Fuzzy sound is a sign of low voltage. Maintain recommended voltage for best results.
The boosters are based on the BJF Little Red Trebler and Red Rooster Booster, connected in that order and with a master volume control. You can use the pedal as a treble booster, a clean boost or an overdrive unit or any combination of the above. Also it can be used with or without the buffer.
The Treble Booster is a fine-tuned booster for just the right treble frequency with carefully designed bandwidth and an optimized slope of bass cut. The booster circuit is designed to overdrive the amplifier inputs from nice shimmer to heavy overdrive, thanks to the massive 40dB of boost. The booster is tuned so that it produces musical distortion by itself on higher boost settings.
You can control the total level of the two boosters with the Master Volume control and also use the Master Volume to achieve distortion from the unit.
Controls
MASTER: this is a volume control that is located directly after the booster circuit and when set to max it is just a resistor to ground. This control sets the final output and it can be used to control the output when the pedal is used for overdrive (Boost turned up).
TREBLE: set treble boost from zero to about 15dB. The treble frequency and bandwidth are carefully tuned with an optimized bass slope.
BOOST: the gain of the booster and can be set from unity to about 40dB of boost. When this control is cranked the unit will distort within itself.
BUFFER: inside the pedal there is a switch for a high quality buffer. You can set the pedal for true bypass mode or “buffer on” in bypass mode. We recommend using a buffer in your signal chain to help with the treble and gain loss from using many pedals and/or long cables. Pedals are shipped “buffer on”.The Mad Professor RRB Buffer is an amplifier with a voltage gain of exactly 1x (times). The RRB buffer output impedance is set a little lower than the Dc resistance of a standard guitar pickup to equalize the effect of following load impedance. Input impedance is set at 500K for a medium load to standard guitar pickups. This keeps the tone and guitar volume taper natural.
Settings
TREBLE BOOST: Set Boost to minimum and Master to maximum and adjust for desired treble boost with the Treble knob.
STRAIGHT BOOST:Set Treble to minimum and Master to maximum and adjust Boost to desired effect.
BOOST: the gain of the booster and can be set from unity to about 40dB of boost. When this control is cranked the unit will distort within itself.
DISTORTION: Set Boost to maximum and adjust output level with Master to unity, then adjust Boost for desired depth and overdrive. Treble can be used to enhance distortion effect.
CAUTION !
Never operate the unit with its bottom removed or damage will most likely occur.
Electrical specifications
Input impedance: approximately 500K Ohm’s
Recommended output load: 50K Ohm’s or higher, effects output and buffer output
Current consumption @ 9V DC: approximately 6mA
DC supply voltage range: 8-18V
Voltage gain: approximately +40dB
Treble boost: peak +15dB@4KHz
Signal to noise ratio: 110 dB
Effect 3dB bandwidth: 70Hz to 7KHz
True bypass or buffered (switchable inside the pedal)
POWER REQUIREMENTS: 6F22 9V battery or DC eliminator 2.1 mm plug center negative and positive sleeve.
NOTES: RRB is protected against wrong DC eliminator polarity. Fuzzy sound is a sign of low voltage. Maintain recommended voltage for best results.
AMBER OVERDRIVE
Fat and smooth overdriveAmber Overdrive is a new pedal into Mad Professor Hand Wired Custom series
One of the most sought after guitar tones is a combination of a great overdrive or fuzz pedal into overdriven tube amplifier. Amber Overdrive produces this sound even when running though a clean amplifier. It produces a very thick sound whether playing chords or single notes – fat and juicy with just a hint of fuzz.
Though highly saturated, this dynamic overdrive can be cleaned up with the volume control of your guitar. As with all Mad Professor pedals, it offers a wide range of dynamics and expressive touch sensitivity.
When you plug it into a clean amplifier, Amber Overdrive can give you the massive sound of a saturated amplifier running wide open. It can also be used as a slightly distorted boost to increase saturation on slightly overdriven amplifiers.
Notice: Amber Overdrive is a medium input impedance device that places a light load on your guitar pickups to produce a smoother tone. it will work best as the first pedal in the chain. if you run a buffered pedal ahead of Amber Overdrive you will get an increase in treble and upper midrange.
Amber Overdrive is hand made in Finland using only premium components, to give years of trouble free operation with superb musical tone.
Build the Mad Professor way: small footprint and big tone.
Controls:
VOLUME: This knob sets the overall output level of the pedal.
DRIVE: settings from low to center will allow you to control the saturation with the volume control on the guitar. to use amber as light overdrive set this control at the beginning of rotation.
TONE: This is a boost/cut “shelving” type equalizer that controls the amount of high end, operating somewhere between a bright switch and the treble control on most amplifiers.
TONE: turning this counterclockwise reduces the amount of high end. If you must run a buffered pedal ahead of Amber Overdrive try lowering the treble.
Electrical specifications:
Current consumption: 2,5mA@9V
Voltage range: 7,5-12 V
Input impedance: 45K
Output drive capability: 25K Ohms
Complete true bypass and input of circuit
grounded in bypass
One of the most sought after guitar tones is a combination of a great overdrive or fuzz pedal into overdriven tube amplifier. Amber Overdrive produces this sound even when running though a clean amplifier. It produces a very thick sound whether playing chords or single notes – fat and juicy with just a hint of fuzz.
Though highly saturated, this dynamic overdrive can be cleaned up with the volume control of your guitar. As with all Mad Professor pedals, it offers a wide range of dynamics and expressive touch sensitivity.
When you plug it into a clean amplifier, Amber Overdrive can give you the massive sound of a saturated amplifier running wide open. It can also be used as a slightly distorted boost to increase saturation on slightly overdriven amplifiers.
Notice: Amber Overdrive is a medium input impedance device that places a light load on your guitar pickups to produce a smoother tone. it will work best as the first pedal in the chain. if you run a buffered pedal ahead of Amber Overdrive you will get an increase in treble and upper midrange.
Amber Overdrive is hand made in Finland using only premium components, to give years of trouble free operation with superb musical tone.
Build the Mad Professor way: small footprint and big tone.
Controls:
VOLUME: This knob sets the overall output level of the pedal.
DRIVE: settings from low to center will allow you to control the saturation with the volume control on the guitar. to use amber as light overdrive set this control at the beginning of rotation.
TONE: This is a boost/cut “shelving” type equalizer that controls the amount of high end, operating somewhere between a bright switch and the treble control on most amplifiers.
TONE: turning this counterclockwise reduces the amount of high end. If you must run a buffered pedal ahead of Amber Overdrive try lowering the treble.
Electrical specifications:
Current consumption: 2,5mA@9V
Voltage range: 7,5-12 V
Input impedance: 45K
Output drive capability: 25K Ohms
Complete true bypass and input of circuit
grounded in bypass
BLUEBIRD OVERDRIVE DELAY
Dynamic overdrive and a delay in one small pedal.BLUEBIRD OVERDRIVE DELAY(BODD) is a compact, easy to use overdrive delay pedal.
The Bluebird Overdrive Delay combines of two of the most popular effects in one pedal.
The overdrive section is extremely touch sensitive.
Like the best boutique amps, the Bluebird lets you determine the amount of breakup by how hard you strike the strings with your pick, and/or by adjusting the volume knob on your guitar.
The Bluebird can add this level of expressiveness to any clean or slightly overdriven amplifier.
IMPORTANT: For best results you should not use a buffered pedal between your instrument and the Bluebird.
Build the Mad Professor way: small footprint and big tone.
Controls:VOLUME: This knob sets the overall output level of the pedal.
DISTORTION: When using medium to low output pickups, and with the distortion set at its lowest level, the Bluebird can be used as a clean equalizer and delay.
At higher drive levels, the pedal will produce medium distortion with lower output pickups, and heavier sounds with higher output pickups.
Hint: lower distortion levels allow greater dynamic response.
TONE: This is a boost/cut “shelving” type equalizer that controls the amount of high end, operating somewhere between a bright switch and the treble control on most amplifiers.
DELAY: This is a boost/cut “shelving” type equalizer that controls the amount of high end, operating somewhere between a bright switch and the treble control on most amplifiers.
INTERNAL TRIM POTS:
Bass:
This is a boost/cut shelving type equalizer that controls the low end, just above resonance of a standard 4x12 cabinet.
Repeats:
This pot adjusts the amount of repeats or feedback.
Delay Time 1 and 2:
These allow you to set two independent delay times.
Electrical specifications:
Current consumption: 47mA@9V (DC adapter recommended)
Voltage range: 7,5-12 V, 9 V 100mA preferred
Input impedance: 140K
Output drive capability: 25K Ohms
Complete true bypass and input of circuit
grounded in bypass
The Bluebird Overdrive Delay combines of two of the most popular effects in one pedal.
The overdrive section is extremely touch sensitive.
Like the best boutique amps, the Bluebird lets you determine the amount of breakup by how hard you strike the strings with your pick, and/or by adjusting the volume knob on your guitar.
The Bluebird can add this level of expressiveness to any clean or slightly overdriven amplifier.
IMPORTANT: For best results you should not use a buffered pedal between your instrument and the Bluebird.
Build the Mad Professor way: small footprint and big tone.
Controls:VOLUME: This knob sets the overall output level of the pedal.
DISTORTION: When using medium to low output pickups, and with the distortion set at its lowest level, the Bluebird can be used as a clean equalizer and delay.
At higher drive levels, the pedal will produce medium distortion with lower output pickups, and heavier sounds with higher output pickups.
Hint: lower distortion levels allow greater dynamic response.
TONE: This is a boost/cut “shelving” type equalizer that controls the amount of high end, operating somewhere between a bright switch and the treble control on most amplifiers.
DELAY: This is a boost/cut “shelving” type equalizer that controls the amount of high end, operating somewhere between a bright switch and the treble control on most amplifiers.
INTERNAL TRIM POTS:
Bass:
This is a boost/cut shelving type equalizer that controls the low end, just above resonance of a standard 4x12 cabinet.
Repeats:
This pot adjusts the amount of repeats or feedback.
Delay Time 1 and 2:
These allow you to set two independent delay times.
Electrical specifications:
Current consumption: 47mA@9V (DC adapter recommended)
Voltage range: 7,5-12 V, 9 V 100mA preferred
Input impedance: 140K
Output drive capability: 25K Ohms
Complete true bypass and input of circuit
grounded in bypass
SILVER SPRING REVERB
Big reverb in a small box!SILVER SPRING REVERB (SSR) is a compact, easy to use digital/analog reverb with a pure analog direct signal path. It creates a natural sounding ambient reverb that will not get in the way of your original signal.
• The Silver Spring Reverb’s bandwidth is in between the dark warmth of an amplifier’s spring reverb and the pristine clarity of a studio reverb.
• There is no noise reduction system, in order to keep the decay as natural as possible.
• The direct signal path is all analog, going straight through analog amplifiers with no filtering.
• With the input set below the maximum there is no signal distortion or coloration
• The Reverb signal path is filtered to produce the Silver Spring Reverb’s natural ambience.
The SSR’s sound is exceptional with a clean signal, but was specifically designed to work equally well with the tougher performance requirements of distorted tone. The SSR can be used before distortion, although it was primarily designed to go after. If you use the SSR before distortion, you may want to use a lower Reverb (Wet/Dry) setting.
Build the Mad Professor way: small footprint and big tone.
ControlsTIME: This sets the decay time of reverb.
Turn it clockwise for longer decay.
At full counterclockwise position the decay is that of a small room. At full clockwise position the decay resembles the large hall sound of a plate reverb. Around the center setting the medium decay time is optimal for rhythmic chords and single notes.
TONE: This adjusts the bandwidth of the reverb signal. Turning clockwise results in a brighter reverb tone and counter- clockwise darker one. Fully counter- clockwise approximates the response of a typical spring reverb, clockwise a studio reverb.
REVERB: This adds reverb to dry signal. Reverb can be turned fully off if Reverb knob is turned fully CCW, and is loudest at fully clockwise.
Electrical specifications:
Current consumption: 80mA@9V (DC adapter recommended)
Voltage range: 6-9 V, 9 V 100mA preferred
Input impedance: 500K
Output drive capability: 10K Ohms
Signal noise ratio: 90dB
Complete true bypass and input of circuit
grounded in bypass
• The Silver Spring Reverb’s bandwidth is in between the dark warmth of an amplifier’s spring reverb and the pristine clarity of a studio reverb.
• There is no noise reduction system, in order to keep the decay as natural as possible.
• The direct signal path is all analog, going straight through analog amplifiers with no filtering.
• With the input set below the maximum there is no signal distortion or coloration
• The Reverb signal path is filtered to produce the Silver Spring Reverb’s natural ambience.
The SSR’s sound is exceptional with a clean signal, but was specifically designed to work equally well with the tougher performance requirements of distorted tone. The SSR can be used before distortion, although it was primarily designed to go after. If you use the SSR before distortion, you may want to use a lower Reverb (Wet/Dry) setting.
Build the Mad Professor way: small footprint and big tone.
ControlsTIME: This sets the decay time of reverb.
Turn it clockwise for longer decay.
At full counterclockwise position the decay is that of a small room. At full clockwise position the decay resembles the large hall sound of a plate reverb. Around the center setting the medium decay time is optimal for rhythmic chords and single notes.
TONE: This adjusts the bandwidth of the reverb signal. Turning clockwise results in a brighter reverb tone and counter- clockwise darker one. Fully counter- clockwise approximates the response of a typical spring reverb, clockwise a studio reverb.
REVERB: This adds reverb to dry signal. Reverb can be turned fully off if Reverb knob is turned fully CCW, and is loudest at fully clockwise.
Electrical specifications:
Current consumption: 80mA@9V (DC adapter recommended)
Voltage range: 6-9 V, 9 V 100mA preferred
Input impedance: 500K
Output drive capability: 10K Ohms
Signal noise ratio: 90dB
Complete true bypass and input of circuit
grounded in bypass
MELLOW YELLOW TREMOLO
BJF design music tremolo pedalHand-made in Finland premium quality tremolo pedal, also available as lower priced pcb pedal.
Mad Professor Mellow Yellow Tremolo (MYT) is a true sine wave tremolo effect designed for tremolo tones from the of 50's type soft swing to deep modulation with great playability, regardless of tremolo depth or speed.
Strength of incoming signal is modulated by a sinusoidal oscillator, just like in the early amps, and modulation bias is set to give symmetrical modulation.
This gives a very musical tremolo effect that blend very well with both clean and distorted guitar tones.
The MYT has a level control that allows you to even boost the signal for a more powerful effect.
Like all Mad Professor pedals MYT is hand made in Finland using only premium components, to give years of trouble free operation with superb musical tone.
ControlsSPEED: controls the speed of modulation
DEPTH: controls the depth from barely noticeable to almost full on/off
LEVEL: is primarily meant to balance level effect on and off- sometimes you need to have a slight boost because the tremolo effect cuts density of sound through pulsating
Electrical specifications
Supply voltage range: 7,5 to 15VDC
Current consumption at 9VDC: 5,5 mA
Input inpedance: 340K Ohm's
Output impedance: 1K Ohm's
Complete bypass (true bypass)
Mad Professor Mellow Yellow Tremolo (MYT) is a true sine wave tremolo effect designed for tremolo tones from the of 50's type soft swing to deep modulation with great playability, regardless of tremolo depth or speed.
Strength of incoming signal is modulated by a sinusoidal oscillator, just like in the early amps, and modulation bias is set to give symmetrical modulation.
This gives a very musical tremolo effect that blend very well with both clean and distorted guitar tones.
The MYT has a level control that allows you to even boost the signal for a more powerful effect.
Like all Mad Professor pedals MYT is hand made in Finland using only premium components, to give years of trouble free operation with superb musical tone.
ControlsSPEED: controls the speed of modulation
DEPTH: controls the depth from barely noticeable to almost full on/off
LEVEL: is primarily meant to balance level effect on and off- sometimes you need to have a slight boost because the tremolo effect cuts density of sound through pulsating
Electrical specifications
Supply voltage range: 7,5 to 15VDC
Current consumption at 9VDC: 5,5 mA
Input inpedance: 340K Ohm's
Output impedance: 1K Ohm's
Complete bypass (true bypass)
ELECTRIC BLUE CHORUS
Chorus pedal even for people who do not like chorus.Chorus effect is achieved by mixing dry signal with modulated signal (vibtatoed, delayed) making an effect of more than one instrument playing together same part.
Traditionally one would mix vibratoed and dry signal in equal portions to get the chorous effect, while this may lead to a metallic quality of sound.
With the EBC Blend knob you can adjust the mix of these two, and get lot of different tones, from mild to wild.
Electric Blue Chorus (EBC) uses a sinewave generator for more pleasing and gentle liquid wave sound.
The EBC has musical modulation even with stronger Chorus settings, with tones leaning into kind of vibratoed tone that differes it from many other Chorus pedals.
With Depth and Blend knobs, one can also adjust very mild, barely audible Chorus sounds that add some dimension and depth to your tone.
The EBC is also very quiet, and transparent with very little filtering. Traditional chorus pedals often had treble loss, noise or metallic tone specially when used with distortion.
EBC was designed to be used with both clean and distorted tone, and it works both in front of or after a distortion pedal..
Build the Mad Professor way: small footprint and big tone.
Controls:BLEND: his is a control for setting the mix of modulated and dry sound. Turn up for intense effect
DEPTH: this a control for setting modulation depth, turn up for deeper effect.
SPEED: this is a control for setting the speed of the internal oscillator
Sample settings (clock positions):
Strong Chorus: Blend: 5 Depth: 3 Speed: 12
Floating vibe-tone: Blend: 5 Depth: 4 Speed: 10
Fast rotating speaker: Blend: 3 Depth: 3 Speed: 5
Mild Chorus: Blend: 12 Depth: 12 Speed: 12
Turning Depth up you get wild Vibrato tone.
EBC before overdrive makes more of a floting one.
Electrical specifications:
Input impedance: 400K Ohm's
Recommended output load: 2K Ohm's
Current consumption: @ 9V DC approximately 40mA
DC supply voltage range: 9- 12V
True bypass
Traditionally one would mix vibratoed and dry signal in equal portions to get the chorous effect, while this may lead to a metallic quality of sound.
With the EBC Blend knob you can adjust the mix of these two, and get lot of different tones, from mild to wild.
Electric Blue Chorus (EBC) uses a sinewave generator for more pleasing and gentle liquid wave sound.
The EBC has musical modulation even with stronger Chorus settings, with tones leaning into kind of vibratoed tone that differes it from many other Chorus pedals.
With Depth and Blend knobs, one can also adjust very mild, barely audible Chorus sounds that add some dimension and depth to your tone.
The EBC is also very quiet, and transparent with very little filtering. Traditional chorus pedals often had treble loss, noise or metallic tone specially when used with distortion.
EBC was designed to be used with both clean and distorted tone, and it works both in front of or after a distortion pedal..
Build the Mad Professor way: small footprint and big tone.
Controls:BLEND: his is a control for setting the mix of modulated and dry sound. Turn up for intense effect
DEPTH: this a control for setting modulation depth, turn up for deeper effect.
SPEED: this is a control for setting the speed of the internal oscillator
Sample settings (clock positions):
Strong Chorus: Blend: 5 Depth: 3 Speed: 12
Floating vibe-tone: Blend: 5 Depth: 4 Speed: 10
Fast rotating speaker: Blend: 3 Depth: 3 Speed: 5
Mild Chorus: Blend: 12 Depth: 12 Speed: 12
Turning Depth up you get wild Vibrato tone.
EBC before overdrive makes more of a floting one.
Electrical specifications:
Input impedance: 400K Ohm's
Recommended output load: 2K Ohm's
Current consumption: @ 9V DC approximately 40mA
DC supply voltage range: 9- 12V
True bypass
SNOW WHITE AUTO WAH
BJF design guitar and bass Auto Wah/ Voltage Control Filter pedalHand-made in Finland premium quality auto wah pedal.
The SNOW WHITE AUTOWAH (SWAW) circuit is based on a 1991 BJF rack mount remote wah circuit and is tuned like a real wah.
The circuit was redesigned with envelope controls and built into small size pedal.
It has very fast tracking and accuracy rarely found on auto wahs/ envelope filters. With the four knobs you can have total control of the effect.
SWAW works both with guitar and bass and you can fine-tune the pedal to suit your instru-ment, your playing style and your taste of tone.
The pedal has a unique decay control for the filter frequency fall speed. You can set it to be fast for wah effects on every note, or slower for a more traditional auto wah sound.
Like all Mad Professor pedals SWAW is hand made in Finland using only premium compo-nents, to give years of trouble free operation with superb musical tone.
ControlsSENSITIVITY: Sets the filter trigger level, tune this carefully to fit your guitar/bass output and your playing touch.
You can further change the sensitivity from your guitar volume knob while playing.
BIAS: Controls the filter resonance frequency. When Sensitivity is turned fully off the Bias can be used as a sweepable filter.
RESONANCE: Controls the sharpness or Q-factor of the filter.
DECAY: Controls how fast the filter frequency falls back to resting point (that is set with the Bias control). This can be set fast (CW) so you get the wah effect on every note or slow for a more traditional auto wah sound.
PLAYING: Please take time to get used to the controls and as this is a voltage control filter it will react to your playing touch. The envelope control circuit is carefully designed to follow the dynamics of guitar/bass and it might take some time to master the Auto Wah playing technics.
Try also adjusting guitar volume between 8 and 10 to further expand use.
Electrical specificationsSupply voltage: 9VDC
Current consumption at 9VDC: 15mA
Input inpedance: 500K
Output impedance: 1K
Max input -20dBV
Complete bypass (true bypass)
The SNOW WHITE AUTOWAH (SWAW) circuit is based on a 1991 BJF rack mount remote wah circuit and is tuned like a real wah.
The circuit was redesigned with envelope controls and built into small size pedal.
It has very fast tracking and accuracy rarely found on auto wahs/ envelope filters. With the four knobs you can have total control of the effect.
SWAW works both with guitar and bass and you can fine-tune the pedal to suit your instru-ment, your playing style and your taste of tone.
The pedal has a unique decay control for the filter frequency fall speed. You can set it to be fast for wah effects on every note, or slower for a more traditional auto wah sound.
Like all Mad Professor pedals SWAW is hand made in Finland using only premium compo-nents, to give years of trouble free operation with superb musical tone.
ControlsSENSITIVITY: Sets the filter trigger level, tune this carefully to fit your guitar/bass output and your playing touch.
You can further change the sensitivity from your guitar volume knob while playing.
BIAS: Controls the filter resonance frequency. When Sensitivity is turned fully off the Bias can be used as a sweepable filter.
RESONANCE: Controls the sharpness or Q-factor of the filter.
DECAY: Controls how fast the filter frequency falls back to resting point (that is set with the Bias control). This can be set fast (CW) so you get the wah effect on every note or slow for a more traditional auto wah sound.
PLAYING: Please take time to get used to the controls and as this is a voltage control filter it will react to your playing touch. The envelope control circuit is carefully designed to follow the dynamics of guitar/bass and it might take some time to master the Auto Wah playing technics.
Try also adjusting guitar volume between 8 and 10 to further expand use.
Electrical specificationsSupply voltage: 9VDC
Current consumption at 9VDC: 15mA
Input inpedance: 500K
Output impedance: 1K
Max input -20dBV
Complete bypass (true bypass)
STONE GREY DISTORTION
The new Mad Professor - Stone Grey Distortion (SGD) is a modern high-gain distortion pedal with unparallelled clarity and definition.
This pedal was developed for high gain applications and specifically for clarity at heavy distortion levels.
The Stone Grey Distortion is unique in that it has razor sharp dynamics and high gain intensity. It's ready for drop tuning, 7 string, and modern rock players who are seeking extreme gain with intense "string to string definition".
Play a chord and hear each note distinctly, instead of it turning to "mush" like many other high gain pedals.
With the gain turned down, the Stone Grey Distortion approaches overdrive-like textures and responds to the player's touch and dynamics like our other Mad Professor pedals do.
Build the Mad Professor way: small footprint and big tone.
ControlsVOLUME: sets the output level of the distorted signal
DISTORTION: sets the level of distortion - lower levels more overdrive-like textures - higher with heavier distortion.
TONE: sets the critical treble response for use with various amplifiers.
Electrical specifications:
Input impedance: approximately 500K Ohm's
Recommended output load: 50K Ohm's or higher
Current consumption: @ 9V DC approximately 8mA
DC supply voltage range: 7,5- 15V
True bypass
This pedal was developed for high gain applications and specifically for clarity at heavy distortion levels.
The Stone Grey Distortion is unique in that it has razor sharp dynamics and high gain intensity. It's ready for drop tuning, 7 string, and modern rock players who are seeking extreme gain with intense "string to string definition".
Play a chord and hear each note distinctly, instead of it turning to "mush" like many other high gain pedals.
With the gain turned down, the Stone Grey Distortion approaches overdrive-like textures and responds to the player's touch and dynamics like our other Mad Professor pedals do.
Build the Mad Professor way: small footprint and big tone.
ControlsVOLUME: sets the output level of the distorted signal
DISTORTION: sets the level of distortion - lower levels more overdrive-like textures - higher with heavier distortion.
TONE: sets the critical treble response for use with various amplifiers.
Electrical specifications:
Input impedance: approximately 500K Ohm's
Recommended output load: 50K Ohm's or higher
Current consumption: @ 9V DC approximately 8mA
DC supply voltage range: 7,5- 15V
True bypass
SWEET HONEY OVERDRIVE
Mad Professor Sweet Honey Overdrive (SHOD) is a super touch sensitive medium gain overdrive pedal.
This pedals is now offered as lower priced pcb-model or hand wired pedal. Both share the same specs and tone.
It is designed to overdrive distorted amplifiers and give dynamically controlled light overdrive on clean sounds.
Distortion level can be controlled by pick attack and pickup strenght. Harder picking for overdrive and softer for cleaner tone.
With the unique Focus control you can adjust the feel and dynamics of the pedal as well as overal EQ.
Turning Focus CCW you need to play harder to get distortion and the tone is softer, great for jazz and blue.
Focus turned CW gives a slight treble boost and earlier distortion.
This type of overdrive has previously only been found in the BJF Honey Bee but is now presented in Mad Professor version. The Mad Professor SHOD has a tighter sound and is more versatile as it was designed to work with all kinds of guitars and amplifiers.
This versatile pedals stacks well with all kind of other pedals and suits for huge variety of different music styles.
Controls:VOLUME: sets the output volume
DRIVE: controls the amount of overdrive.
FOCUS: Controls how easily the circuit distorts as well as adjusting overall EQ. Turning CCW gives less distortion and a mellow effect, turning CW gives a slight treble boost and earlier distortion. Good starting point is 11 o’clock.
Electrical specifications:
Supply voltage range: 7,5 to 18VDC
Current consumption at 9VDC: 5 mA
Input inpedance: 260K
Output impedance: 25K Ohm's
Complete bypass (true bypass)
This pedals is now offered as lower priced pcb-model or hand wired pedal. Both share the same specs and tone.
It is designed to overdrive distorted amplifiers and give dynamically controlled light overdrive on clean sounds.
Distortion level can be controlled by pick attack and pickup strenght. Harder picking for overdrive and softer for cleaner tone.
With the unique Focus control you can adjust the feel and dynamics of the pedal as well as overal EQ.
Turning Focus CCW you need to play harder to get distortion and the tone is softer, great for jazz and blue.
Focus turned CW gives a slight treble boost and earlier distortion.
This type of overdrive has previously only been found in the BJF Honey Bee but is now presented in Mad Professor version. The Mad Professor SHOD has a tighter sound and is more versatile as it was designed to work with all kinds of guitars and amplifiers.
This versatile pedals stacks well with all kind of other pedals and suits for huge variety of different music styles.
Controls:VOLUME: sets the output volume
DRIVE: controls the amount of overdrive.
FOCUS: Controls how easily the circuit distorts as well as adjusting overall EQ. Turning CCW gives less distortion and a mellow effect, turning CW gives a slight treble boost and earlier distortion. Good starting point is 11 o’clock.
Electrical specifications:
Supply voltage range: 7,5 to 18VDC
Current consumption at 9VDC: 5 mA
Input inpedance: 260K
Output impedance: 25K Ohm's
Complete bypass (true bypass)
Mighty red distortion
Hand-made in Finland premium quality distortion pedal.
MRD is a high-gain distortion pedal, which was modelled after the 80′s style compressed gain sounds. It is extremely easy (and lot of fun) to play, because its texture is adjusted to give clarity and definition also at heavy distortion. Gain range allows also low distortion sounds as well as stacking with other pedals, where an overdrive (preferably MP LGW) can pre-drive MRD for extreme and highly focused sounds. To get these gain levels with their impressive signal to noise ratio, we didn’t use any noise gate or expander. Instead, we used special amplifier techniques and extreme low noise amplifier stages, which result in a natural decay and a rather high current consumption for a distortion pedal in view of battery operation.
MRD has that 80′s sound many have longed for but never got before at such low noise levels and versatility. The Presence control was designed to control the upper treble, but not to affect the upper midrange, so that you can get the exact treble you desire. You can master anything from fat warm singing distortion to screaming cutting leads with the MRD’s Presence control.
Step into your spandex trousers and plug in the Mighty Red Distortion pedal!
Controls
VOLUME: Sets the level of distorted signal
DISTORTION: Controls the amount of distortion
PRESENCE: Controls upper treble, while not affecting the upper midrange so you can adjust tones from warm and sweet into cutting leads with an attitude.
Electrical specifications
Supply voltage range: 7,5 to 18VDC
Current consumption at 9VDC: 10,6 mA
Max gain: 62dB
Max output: 1V pk-pk or 500mV rms
Signal/Noise ratio: approximately 96dB
Complete bypass (true bypass)
MRD is a high-gain distortion pedal, which was modelled after the 80′s style compressed gain sounds. It is extremely easy (and lot of fun) to play, because its texture is adjusted to give clarity and definition also at heavy distortion. Gain range allows also low distortion sounds as well as stacking with other pedals, where an overdrive (preferably MP LGW) can pre-drive MRD for extreme and highly focused sounds. To get these gain levels with their impressive signal to noise ratio, we didn’t use any noise gate or expander. Instead, we used special amplifier techniques and extreme low noise amplifier stages, which result in a natural decay and a rather high current consumption for a distortion pedal in view of battery operation.
MRD has that 80′s sound many have longed for but never got before at such low noise levels and versatility. The Presence control was designed to control the upper treble, but not to affect the upper midrange, so that you can get the exact treble you desire. You can master anything from fat warm singing distortion to screaming cutting leads with the MRD’s Presence control.
Step into your spandex trousers and plug in the Mighty Red Distortion pedal!
Controls
VOLUME: Sets the level of distorted signal
DISTORTION: Controls the amount of distortion
PRESENCE: Controls upper treble, while not affecting the upper midrange so you can adjust tones from warm and sweet into cutting leads with an attitude.
Electrical specifications
Supply voltage range: 7,5 to 18VDC
Current consumption at 9VDC: 10,6 mA
Max gain: 62dB
Max output: 1V pk-pk or 500mV rms
Signal/Noise ratio: approximately 96dB
Complete bypass (true bypass)
deep blue delay
Hand-made in Finland premium quality delay pedal.
You can use the pedal before or after distortion. As such, it will work exceptionally well on clean sounds where requirements are less stringent, especially in terms of echo bandwidth and repeat formation.
The delay tone has been carefully tuned with lot of attention to the first critical reflection and how the repeats decay.
Deep Blue Delay is kept small (Width x Length x Height :69mm x 111mm x 50mm including jacks and knobs) containing just the basic delay features; Delay Time, Delay Level and Repeat controls. It was designed to work as an ambience delay; like that of a vintage tape echo and the repeat formation was specifically designed to allow easy setting and less critical setting of delay time. With delay times higher than 120ms, the delay time is sometimes set on the beat or on a multiple of the beat. Deep blue handles this by not giving full range repeats, but a tuned response that don’t need to be on the beat to sound good.
Why digital? Isn’t Analog better for a solid-state solution?
Well, in many ways, the delay medium is less critical and it could be an oil-drum, tape, metal-thread, analog BBD or digital, but the final sound is always set by the limitations of the delay medium and the peripheral circuitry needed to make either work. We chose Digital construction to make it compact, stable, with reasonable delay time and virtually service free, where the limitations of the circuit would be less critical. As an outcome, you can set the peripheral circuitry with desired bandwidth and distortion levels with less consideration on the exact limits of the delay medium, while of course always pushing the limits, as with anything musical.
A similar circuit in analog form would be excessively more expensive to make. For the same performance, it would require three to four of the best BBD chips now only available as vintage parts and the size of the pedal would have to be about three times the current size.
Controls
LEVEL: Sets the level of delayed signal mixed with straight guitar tone, fully CCW there is only straight (un-effected) guitar signal heard and fully CW gives the loudest delay.
DELAY: Controls the delay time from 25ms (fully CCW) to 450ms (fully CW)
REPEAT: Controls the repeats of the delay signal, fully CCW gives one repeat and at fully CW you get infinite feedback.
- Deep Blue Delay is a natural sounding digital/analog delay, with analog direct signal path. The Deep Blue Delay has about the same bandwidth as the classic tape echo units, and it can be used in front of an amplifier or in amplifier effects loops.
- There are no noise reduction circuits, which keeps decay of echo as natural as possible.
- The direct signal path is short and made with analog amplifiers with no filtering.
- There should be no distortion or tone coloration as long as input level is in range below maximum allowed.
- The echo signal has a tuned filtering to allow extreme settings without interference.
You can use the pedal before or after distortion. As such, it will work exceptionally well on clean sounds where requirements are less stringent, especially in terms of echo bandwidth and repeat formation.
The delay tone has been carefully tuned with lot of attention to the first critical reflection and how the repeats decay.
Deep Blue Delay is kept small (Width x Length x Height :69mm x 111mm x 50mm including jacks and knobs) containing just the basic delay features; Delay Time, Delay Level and Repeat controls. It was designed to work as an ambience delay; like that of a vintage tape echo and the repeat formation was specifically designed to allow easy setting and less critical setting of delay time. With delay times higher than 120ms, the delay time is sometimes set on the beat or on a multiple of the beat. Deep blue handles this by not giving full range repeats, but a tuned response that don’t need to be on the beat to sound good.
Why digital? Isn’t Analog better for a solid-state solution?
Well, in many ways, the delay medium is less critical and it could be an oil-drum, tape, metal-thread, analog BBD or digital, but the final sound is always set by the limitations of the delay medium and the peripheral circuitry needed to make either work. We chose Digital construction to make it compact, stable, with reasonable delay time and virtually service free, where the limitations of the circuit would be less critical. As an outcome, you can set the peripheral circuitry with desired bandwidth and distortion levels with less consideration on the exact limits of the delay medium, while of course always pushing the limits, as with anything musical.
A similar circuit in analog form would be excessively more expensive to make. For the same performance, it would require three to four of the best BBD chips now only available as vintage parts and the size of the pedal would have to be about three times the current size.
Controls
LEVEL: Sets the level of delayed signal mixed with straight guitar tone, fully CCW there is only straight (un-effected) guitar signal heard and fully CW gives the loudest delay.
DELAY: Controls the delay time from 25ms (fully CCW) to 450ms (fully CW)
REPEAT: Controls the repeats of the delay signal, fully CCW gives one repeat and at fully CW you get infinite feedback.
little green wonder
Premium quality classic blues/rock pedal that works very well with complex overdriven amp sound. This pedals is now offered as lower priced pcb-model or hand wired pedal.
Both share the same specs and tone.
It’s a low compression, high headroom overdrive with high output, and it has a Body knob for adjusting low-mid content and treble.
The LGW was made to be a stackable overdrive that could go anywhere in the pedal chain and the compression normally associated with this type of circuit is reduced same as several distortion mechanisms.
This pedal will work very well with amps and other pedals that have a lot of complexity or compression, a situation that not all pedals work well.
LGW makes a great building block to sound yet it works standalone and especially with humbuckers where normally this type of circuit would not work satisfactory, much due to bass loss and sometimes separated sounds (where transients feed through and a cloud of distortion follows beneath.
Body control gives access to medium midhump at center position and allows treble boost at cw rotation and low mid/treble boost a ccw position and so unit also can provide distortion albeit a smooth type. LGW can be used as an overdrive to already distorting amplifiers or pedals downstream, as well as function as a filter when feed with fuzz pedals that may be rough on some amplifiers and can also be used as light overdrive for just breaking up sounds.
As designer Bjorn Juhl put it:
Whereas Little Green Wonder is a TS-style pedal, but one for those who don’t generally like TS-style pedals. Big difference between these two pedals would be headroom, distortion style and distortion depth and treble response, output level, function of tone knob, color, symbol…. they do share a common layout of mechanical components.
Electrical specifications
Both share the same specs and tone.
It’s a low compression, high headroom overdrive with high output, and it has a Body knob for adjusting low-mid content and treble.
The LGW was made to be a stackable overdrive that could go anywhere in the pedal chain and the compression normally associated with this type of circuit is reduced same as several distortion mechanisms.
This pedal will work very well with amps and other pedals that have a lot of complexity or compression, a situation that not all pedals work well.
LGW makes a great building block to sound yet it works standalone and especially with humbuckers where normally this type of circuit would not work satisfactory, much due to bass loss and sometimes separated sounds (where transients feed through and a cloud of distortion follows beneath.
Body control gives access to medium midhump at center position and allows treble boost at cw rotation and low mid/treble boost a ccw position and so unit also can provide distortion albeit a smooth type. LGW can be used as an overdrive to already distorting amplifiers or pedals downstream, as well as function as a filter when feed with fuzz pedals that may be rough on some amplifiers and can also be used as light overdrive for just breaking up sounds.
As designer Bjorn Juhl put it:
Whereas Little Green Wonder is a TS-style pedal, but one for those who don’t generally like TS-style pedals. Big difference between these two pedals would be headroom, distortion style and distortion depth and treble response, output level, function of tone knob, color, symbol…. they do share a common layout of mechanical components.
Electrical specifications
- Z in at 1kHz: app. 500K
- Pout 1kHz in 50k: app. 0uW70 RMS
- Max load: app. 10K
- Max output: 3V peak
- Max current consumption: 5mA5 at 10V
- Upper freq. -3dB: app. 10KHz
- Max gain at 1KHz: app. 58 dB
- Max input signal: 3V peak
- Supply Voltage range: 7V5-18V
- Complete bypass (true bypass)