The BSM OR model is based on the Orange Treble & Bass booster made in the late 60's in England. The OR model includes a tone control which allows an extraoridinary amount of versatility. When set to maximum, the unit produces a very glassy tone. When a middle setting is dialed in, the result is a punchy tone with a mids emphasis. When set to minimum, the unit produces a very bassy tone with a fat bottom end. The long yearned new edition, now issued under the name OR from BSM, includes the same germanium transistors as the original 1960's version.

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OR Treble Booster 

Around 1960 the British Gary Hurst developed the first known distortion unit for electric guitar, which was available only as a custom order. So only a few were built and sold. Later, in 1965, Gary Hurst joined the team of Sola Sound, which was based in London. As an OEM-product, Sola Sound built Hurst's circuit, slightly modified and in a large production number, now called Tone Bender (Mk1.5) for the fellow British company Vox. Once developed and done, Sola Sound offered a minor number of the Tone Bender circuit under their own flag and brand. In fall 1966 Arbiter, the giant in the British music business, introduced a Fuzz unit under the name Fuzz Face, which looked unique, but was actually just a modification of the Vox/Sola Sound (Mk1.5). The Arbiter Fuzz Face generated a similar distortion sound like the Tone Bender (Mk1.5), but with more bass.

Demo by Haiko Heinz

FuzzBender

The BSM RM is based on the british Range Master unit produced between 1965 and 1969, as used by Eric Clapton in John Mayall's Bluesbreakers. Eric also used the booster when playing in the legendary group Cream. Its biting, powerful sound is clearly in evidence on the Bluesbreakers "Beano" album. Blues rocker Rory Gallagher, Glam rocker Mark Bolan, Heavy Rock pioneer Tony Iommi and Brian May from Queen were also heavy users of the original Range Master unit.

RM early days Treble Booster

Many guitarists of the late 60s and early 70s knew how to get a rough earthy and unmistakable sound out of their humbucking pickups and tube amplifiers, which in retrospect has not been possible to recreate so far. BSM has dedicated so many booster pedals to this subject to receive these historical sounds with every tube amp, that offers a powerful clean or crunch character. But it ́s impossible to drive a treble booster pedal into saturation so the idea came up to develop a stand-alone version you can also use in front of a clean amp to get some crunch without the typical mid-honk sound and to replace the overdrive pedals on your pedalboard.

Review by Gitarre & Bass

Demo by EytschPi42

Heritage Crunch Booster

he BSM SPECTRUM Fuzz-Booster is our tribute to Tommy Bolin, guitar wizzard of the 70's, that was not only well known because of his marvelous guitar playing as a studio guitarist on Billy Cobham's spectacular "Spectrum" jazz fusion album from 1973, he was also a worthy follower for Ritchie Blackmore on Deep Purples "Mk_IV". All the time Mr. Bolin had a punchy and "in the face" sound which he created with a Sam Ash Fuzzz unit that had a controlable, treble-boosty character. The BSM "Spectrum" is an copy of the Sam Ash Fuzzz that Tommy Bolin used, down to the oddest details like the "attack" control that can smoothly blend from treble boost to fuzz, while the "spectrum" control manipulates the tone spectrum up to unbelieveable almost six octaves - because of this it should be very easy to find the sound you are yearning for.

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OR Treble Booster

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RM early days Treble Booster

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