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.

Demo by Haiko Heinz

Review by Premier Guitar

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Spectrum Fuzz Booster

The BSM RM-Metal model 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, Heavy Rock pioneer Tony Iommi and Brian May from Queen were also heavy users of the orginal Range Master unit. The long yearned for new edition, now issued under the name RM from BSM, includes the same OC44 germanium transistors as the the original 1965 version. The RM Metal is a modified '69er RM model like Mr. Iommi's unit, which he has used on his second Black Sabbath records and later. The RM Metal model is recommed for Nu-Rock, low dropped tunings and baritone guitars.

RM Metal 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.

FuzzBender

In November 1973, right before the start of the "Burn" tour, Ritchie Blackmore changed his live setup. First and foremost, he wanted to play live with an echo effect and made the AIWA TP-1011 reel-to-reel tape recorder his first choice. This unit offered the typical 1/3 seconds echo repeat, perfectly matching Blackmore's natural beat. Additionally, Blackmore used the integrated microphone pre-amp as a booster, and so his beloved Hornby-Skewes trebleboosters, he used for many years, were no longer needed and sent into retirement. The necessary trebleboost function (from a technical point of view a "highpass" function), was built into his heavily modified Marshall Major amp.

RPA California II Treble Booster

BSM decided to build a significant boutique overdrive pedal in order to add a different and more modern way of receiving the signature Blackmore sound additionally to the classic BSM full power Booster line: the SUPREME! If combines the medium output of an overdrive pedal with the typical Blackmore sound, so as to achieve Ritchie’s tone immediately with most amps bright channel independently from the SUPREMES’ output adjustment. The drive-control is there to set perfectly Ritchie’s gain-shadings over the last four decades of his rock-artistic development. The basic tone is very beefy with direct bass, punching mids and uncoloured treble.

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Spectrum Fuzz Booster

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RM Metal Treble Booster

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RPA California II Treble Booster

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