The RPA Major is the answer to many customer calls, demanding the hard, agressive Ritchie Blackmore stage sound of the 70's, without the need to get their amp heavily modified. The RPA Major offers a lot more gain compared to the stock RPA model with tons of crunch and a higher level of agressivity ... something that fits the modern Metal scene as well. With the level control turned up to the max, the RPA Major delivers an output level of 8 volts (!!!), which can kill most modulation stompboxes with electronical CMOS switching like delay, chorus etc. that are connected after the RPA Major in the signal chain. So please only use the RPA Major with full level directly into your tube amp. If you want to connect some stompboxes after the RPA Major, reduce the level to 50% to be on the safe side.

Demo by  Joe Stump

Demo by  More Karvonen

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RPA Major special Booster

The Hornby-Skewes Treble Booster was Ritchies favorite box for live and studio recordings like the famous 1971 "Machine Head" or the later 1974 "Burn" session. The HS-S Master in front of a Vox AC30 gives you the unique sound of the well-known rock hymn "Smoke on the water". Compared to its forerunner, the HS-S sounds a tad more aggressive with more mid-range with the guitar’s volume pot fully opened, a little bit similar to a WahWah sound. But the higher the pre-amp volume of the amp is dialed in, the more this midrangy tone will be forced into the background because now the saturation of the amp will generate the necessary harmonics. So it´s up to you to chase the sweet spot of the HS-S unit. You will have to raise the pre-amp volume of a Marshall Major noticeably because this amp is a very clean sounding one. To have some good reserves when dialing in the pre-amp volume Blackmore had his Major amps modded early with a cascaded pre-amp design right from the factory.

Demo by Leon van der Meer

Demo by Haiko Heinz

HS-S Treble Booster 

At the point of their foundation in 1973 "Bad Company" assembled of three main band fragments. Boz Burell on bass, who left "King Crimson" after being unsatisfied with the tricky and complex harmony structure of the compositions by his boss Robert Fripp. Next was guitarist Mick Ralphs, formerly of "Mott the Hoople". The band fronted by the dominant singer Ian Hunter, who pushed the band into the new Glam-Rock trend. Mick disliked the new direction, so he left as well only to team up with Simon Kirk and Paul Rodgers from the famous British band "Free", who he met several times when "Mott the Hoople" opened for "Free". "Free" was -and still is- nowadays well known for their guitar player Paul Kossoff with his irreproducible soulful finger vibrato, his clever chord-inversions and his pure earthy sound.

Albuquerque special Booster 

The DM-T is based on a germanium fitted special Booster from the late 60‘s. Here is a copy of this circuit but with the nice addition of a very versatile frankenstein tone-control system: for the treble and mid tone-control the circuit of the almost forgotten Apollo booster is used while for the bass tone-control the circuit of a modified VOX booster will comfort your ears. In comparison to the technical similar but more gently sounding Ambassador Treble & Midrange Booster, the DM-T produces a harder sound without getting shrill. It fits perfectly the classic beat and rock sound but is also a good mate for funky or country rock music. The DM-T is loaded with original west European NOS 60s germanium transistors.

Demo by Guitar Bonedo

DM-T Treble/Full-Mid 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.

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Weitere Pedals von BSM - Meiser Electronics

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RPA Major special Booster

BSM - Meiser Electronics

HS-S Treble Booster

BSM - Meiser Electronics

Albuquerque special Booster

BSM - Meiser Electronics

DM-T Treble/Full-Mid Booster

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