When you are lurking on as many gear forums that I am (it’s no wonder my sanity is often questioned) you start to notice patterns forming, you see the same questions come up, and quite often you get to see some great answers and also some terrible ones. I was explaining to Mrs Wilding a couple of weeks ago that at times it feels like I’m in a room with about 100,000 other people and I can hear all the conversations in the room at the same time… Sometimes, the conversations just pass you by but others stick out, especially when you hear the same conversation happening over and over again.

One of those topics that comes up time and time again is “boosts” – the different kinds and where to place them, even which one… so I’m going to write an answer at my level, which is idiot level, to try to explain it all. This may contain information you already know, but hopefully, it will contain some information that you haven’t consolidated yourself yet so there may be something useful in here for you!

When you boil it all down, there are (in my opinion), 3 kinds of boosts that guitarists favour. A clean boost, a treble boost and what’s often classed as a dirty boost, this could be called a coloured boost, or a tone shaping boost or a multitude of other names. The main consideration when deciding which is for you is what you fundamentally want it to do, and where you plan to put it in your chain. My own live rig runs two boosts, one pretty well up the front and one right at the back. Unsurprisingly, they are both Wampler – the Tumnus Mini sits at the front (after the compression and pre-gain modulations) before the main gain stages and the dB+ is right at the back (well, it sits before the reverb pedal but that is an always-on pedal so it doesn’t count!) and acts as a literal volume boost.

The thing that kinda makes me smile is when someone asks online “Recommend me a clean booster” and the thread instantly fills up with shouts of “EP Booster”, “Tumnus”, “TS” and the like and more often than not no one will stop to ascertain what they need, it may be that they need a dirtier boost or not. I would say that 99% of the time the dirtier version will be better, but you know….

Clean boost.
The clean boost does just that. It boosts the output of the signal coming in before it goes out. A lot of them are sold on the basis of a HUGE amount of boost, and for me, that kind of goes against the intention of them. Putting a clean boost in front of your gain stages will just increase the signal going in causing them to clip quicker, so you kind of get more of the same – where’s the fun in that? So, in my opinion, clean boosts are much better situated at the very back of your chain to ensure that when you go in for a solo, everyone can hear you over the rest of the band. Of course, this is not a hard and fast rule, a lot of people love their clean boost in front (especially if you are driving amp gain) because, well… they love their tone. So, happy days. But, once you start enjoying the beauties of a dirty boost it’s hard to ever go back to clean for pre-gain. In a nutshell, the classic clean boost will not add any clipping and it will NOT change the EQ of the signal, as EQ and clipping are so closely connected when you think about pedal dirt, it’s hard to separate them fully.

Treble Boost.
Kind of self-explanatory… takes the higher ranges of the tone and boosts it, this will in turn cause whatever sits behind it to clip into overdrive much quicker based on the frequencies that are hitting it.

‘Dirty’ Boost.
Now, this is where the real fun starts, well it does for me anyway. Thinking about it, I actually use 2 dirty boosts in my rig as I run the c2 side of the Paisley Drive Deluxe into c1 and only tend to use it for high gain stuff… So, why do I do this? Well, it’s all about the options it gives me with tone shaping, and how it makes my guitar feel under my hands. The amps I play with are set at totally clean at all times, so when it’s just the Tumnus that is on it kind of gives it a little nudge, adds very little gain (clipping) and the volume is set to unity. So, it’s not really pushing the amp in any direction, it just throws a gentle EQ curve across everything while giving it a little bite. It’s barely noticeable on the clean sound, but when it’s put on when the PaisleyDog is engaged, it fills it out SO much I can’t really describe it. Everything is warmer, fatter and it really pushes it forward. Not in a way that it makes my guitar sound louder, just fuller. When I then kick in Paisley Drive side (which is effectively set at full TS mode) the combined boosting of the TS frequencies and the K style frequencies produce a wall of sound that is huge. As I use a programmable looper in my rig, I have the following combinations available to me…

1) Clean, 2) Tumnus, 3) Paisley Dog, 4) Tumnus -> Paisley Dog, 5) Paisley Drive -> Paisley Dog 6) Tumnus -> Paisley Drive -> Paisley Dog.

Main Dirve section on the right (c1) with the TS boost on the left (c2)

My hidden boosts. dB+ for final solo boost and Tumnus Mini for pre, pre boost.

Now, the Paisley Drive is set somewhat different than the Tumnus, it’s set just above unity volume with a little more gain applied so when it hits the Paisley Dog side, there is an increase of overall gain as well.

With this in mind, how does all this work technically? The best way to think about dirty boosts is that it’s not about adding clipping to the chain, well, it is, but it’s more about the EQ shapes that they provide into your core signal. EQ is everything! As the Tumnus is a K style and the Paisley Drive is TS style (in one of the modes, and that’s the mode I use it in), I’m adding a largish amount of EQ to my tone when they are kicked in. The TS brings in a hump that centred at around 723hz and the Tumnus centred around 1k (these can and will change when you use the tone controls so that’s not gospel), the change in the character and depth of the main overdriven tone is quite remarkable. It does bring in a little clipping (gain), but you know, what it mostly brings is a jump in response from the EQ stacks, so I can easily control the feedback point and sustains for ever. When people look at the settings on my pedals they are quite surprised how low the gain is set on each, because when they are stacked, the inherent EQ shapes are bringing the gain that’s already there front and centre, with a much more 3D depth... that’s not how it works, but that’s how it feels. 

If you are thinking about a booster pedal, think about what you really need it to do and where you should place it in your chain. Are you after a literal boost for your solos or are you looking for something that changes your tone into something else. The vast majority of people want the latter I think, so the choice then is which voicing you want to bring in – most people instantly think about a TS or a K, but then again there treble boosters (that explode those higher frequencies that bring the character of the subsequent drives/gain stages to a whole new place), or pedals like EP booster that bring another element of width and fullness of its own character, I’ve seen a lot of boards that have an EP at the start and at the back, purely because the warmth it brings also sounds great as an end of chain boost as well.

As I’ve now been using the double boost pre-gain for quite some time now, I’m pretty certain I won’t change as it works so well, but, the older I get the more I start to think of downsizing, so who knows? Maybe we need to do a triple pedal that utilizes both kinds in a single box with one killer core gain stage at the end (I wish I was famous, I would totally have that as my signature pedal). With all this in mind… what is a clean boost in your mind – it is about clipping? Is it about volume? Should EQ play a part in this?


With the release of the Paisley Drive Deluxe right around the corner, I thought it would be a good time to discuss and a recurring topic that's come up for years, but especially more frequently now that details have emerged about the Paisley Deluxe (or as Brad Paisley refers to it, the "Paisley Dog"). I'm talking about the limited edition Underdog overdrive. Released in 2009, with a limited run of just over 100, the UnderDog is based on a Nobels ODR-S but modified to clear up some of the shortcomings Brian felt were inherent in the design. Along with the transparent and flexible 3-band EQ, there is a toggle for higher or lower gain settings, and the Underdog became a favorite of Brad Paisley and Nashville players all around due to its versatility. It's very transparent, the gain can be set minimal and used as a hefty volume boost with a bit of grit where the guitar's voicing stays the primary focus, or it can get extraordinarily crunchy and fat, bordering on fuzzy distortion. It's hard to miss, being in a larger enclosure with bright pink sparkly paint, with a decal for the graphics. 
Here's an excerpt from Brian in 2010 regarding the cause behind the Underdog: “A close friend of mine has breast cancer and has no insurance, no family, and the government will not pay any medical costs for her to get the treatment she needs. Now, I’m not rich by any means, but I had to do something to help her. My wife and I came up with the idea of creating a pink pedal that is rich, dynamic, and very tweakable, and donate ALL the profits to her. Out of that limited run, famed country artist Brad Paisley bought one and loved it. A number of guitarists saw the pedal on Brad’s pedalboard and asked me to build one more for them, so I decided to start building more to keep up with demand. We are still donating all the profits to my friend, Ivy East, who is struggling to pay the doctor bills to combat this terrible disease.”
When the Paisley Drive Deluxe information initially was shared, and that it contained the Underdog circuit as Channel 1, there were a lot of mixed reactions. Overall most of them were overwhelmingly positive and excited, but there were a few discussions that immediately popped up regarding having the Underdog as a standalone pedal, not paired with the Paisley Drive. My goal with this blog is to set the record straight on where Brian and the company itself stands regarding this. It's easier to give the full scope of the discussion in a centralized place for everyone to refer to instead of commenting on dozens of threads, which are still overlooked due to how fast comments pile up on FaceBook.
At this time, there are no plans to rerelease or reissue the Underdog as a single pedal. Let me explain why. As you read in the excerpt above, the Underdog was created for a particular purpose, and it was successful in alleviating the financial burdens that came about from a terrible situation. That being said, there's a level of integrity and respect that comes along with that period and what the pedal stood for. It feels wrong to try to cash-in on that moment in time, and doing so would dilute the meaning behind the Underdog and it's creation. After discussing that on FaceBook in our Tone Group, the question arose about changing the name and graphics and just rereleasing it under a different label. The same theory still applies. The Underdog is just that, a limited thing for a special friend who was in dire need. Changing the name won't make it feel any less dirty or wrong by using that circuit setup for that purpose for personal gain.
So why does Brad Paisley have the circuit in his new signature pedal? The answer is pretty simple and straight-forward. Brad has utilized the Underdog alongside the Paisley Drive for years (see picture below), having one of the original Underdogs and buying several used version up as time went along to be sure the pedal was always there. It's an integral part of his tone. Touring all over the world has its constraints on gear, and it was at his request that we build the Paisley Deluxe. "But you said you wouldn't reissue it." Correct, as a standalone pedal under the banner of Underdog. With the high number of requests and high used prices, we wanted to be able to offer the circuit for our customers, but without sacrificing the basis of what it meant at its core. The compromise is the Paisley Deluxe.