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Pedal lightspeed1/23/2024 If you’re looking for a simple overdrive pedal, it doesn’t get much simpler than the Emerson EM-Drive. Whether you want to use the Liquid Sunshine as a standalone drive or to push your amp over the edge, it’ll shine in either application. Of course, being a low gainer, the Liquid Sunshine stacks well with your other pedals, too, either pushing other pedals or being pushed. The Liquid Sunshine wasn’t designed to get that tone, but I hear it in there. But if you wind it up, you’ll get a hint of tweed-inspired bite that’s warm and really natural sounding. At lower gain, the clarity of the notes is remarkable. And extra control is always good, but what I love most is the range of sounds you can get out of it. The newest version of the Liquid Sunshine pays homage to its predecessors, but was redesigned to add a bit more gain and better control. According to creator Brian Marshall, the Liquid Sunshine “won’t make your amplifier sound like something it’s not-it simply adds a little magic.” The Liquid Sunshine may be in its third iteration, but the idea is and has always been the same: to work with the gear you already use and make it sound more awesome. Turn the knobs and it’s no longer doing that. But a note from Paul Cochrane himself: “The Timmy only has that quality when it’s set to flat boosting. Better yet, set the gain to taste and use it as a standalone drive pedal-that works really well, too.Īs I mentioned, the Timmy has a surprising amount of gain, because most people describe it as a “transparent” overdrive, meaning it doesn’t impart a drastic EQ change when you turn it on. Or, put it before another drive or a dirty amp to drive the signal harder and tweak the tonal curve. You can run it after a fuzz to cut the flub and add extra volume for leads. Reason being, the Timmy features a unique pair of EQ controls that actually cut the bass and treble frequencies, allowing you to dial in the perfect amount of high and low end for your rig. It actually has more gain than most people give it credit for, but as a low-gain stacker-it’s exceptional. The Timmy may be the “little brother” of creator Paul Cochrane’s original overdrive design, but its straightforward take on the innovative circuit has made it a stalwart of the low gain conversation. If you’re lucky enough to get an amp dialed up to the point that the tubes are sweating a bit and still need some extra saturation, low gain is where it’s at.īut with all the various choices out there right now, finding just the right overdrive pedal for you can be an arduous task-so here’s a quick rundown on a few standouts. With one stomp, you can add a bit of hair to your clean tone, or stack multiple low-gain drives together for increasing gain stages. One look at all the available options on the market today and it seems abundantly clear that modern players like me can’t seem to get enough of them-and why not? Low gain drive pedals can be versatile and valuable tools in almost any pedal arsenal. There’s just something about a touch of grit that works really well with my style.Īnd thank goodness that so many great builders have caught on to the trend. And the longest tenured pedal in my humble collection? You guessed it-a low gain drive. In truth, I’ve had more low-gainers than any other kind of effect. And that compromise has led me to a deep and profound love for low-gain overdrive pedals. But over time-though they seem inexplicably unable to comprehend that tube amps require a decent amount of volume to sound best-I have learned to compromise. The battle over stage volume is an age-old and yet ever-present war that I wage with most of the sound guys in my life.
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