When scrolling through social media - especially gear groups - you tend to see a lot of the same misnomers and inaccurately assigned labels put on things… One of the most common is the “transparent” overdrive. I mean, how many times have you seen a K style pedal called Transparent? Quite a few I expect. It’s right up there with people saying “I need a clean boost” and someone saying “tubescreamer”.

Firstly, what is a transparent overdrive? Well, it’s one that doesn’t fundamentally change the EQ of whatever is coming into it. So, all that happens is that the pedal/circuit clips the signal, sending it to overdrive and then comes out again. These kinds of pedals are actually EXTREMELY rare as all the fun is in the EQ stack and when you start putting multiple EQ stacks into circuits, that’s when the fun really starts! bDub made a video last week that was discussing this, so I thought I would expand on it further, concentrating on the most famous transparent OD of them all – Paul Cochrane’s “Timmy”. 

The Tummy has very little in the way of EQ colouration so what you put it just comes out, but clipped (on certain settings)… but before I jump head first into that rabbit hole, here is some basic information about how EQ is handled and how it is performed on most dirt pedals. Like a LOT of pedals the Timmy tone controls is not active, but passive, so it doesn’t add anything it only takes it away – think of it this way – a basic treble control is a LPF (low pass filter) that is wired backwards. It restricts the amount of bass coming through - it does NOT add treble. So, when the knob is all the way round clockwise, the treble isn’t being added, bass is being taken out. The more you bring it counter clockwise, the more bass is taken out giving the impression that there is treble being added. This is obviously different from a lot of the tone stacks that bDub puts in his pedals (which are 100% active EQ’s) so in those when the control is theoretically at noon there is nothing changed, but take the relevant frequencies away when turned counter clockwise, and then added when turned the other way. Worth noting, the bass control on the Timmy is active, but only adds bass – this is integral to the circuit and the style of clipping, and is quite similarly handled in the Euphoria pedal.

One of the things I’ve ALWAYS loved about the Timmy is that the tone pot is actually wired the correct way, so everything appears to be backwards for people who are used to other pedals. When you have the treble control all the way “off” (counter clockwise), all the treble is still in the circuit, when it is “on” (clockwise), the treble is taken out - so it’s working in the correct way… if you look at it from a nerdy perspective. This means that if you have the gain on the Timmy ALL the way down and the tone and bass control all the way up, you are hearing what I think is the most transparent overdrive currently available. Of course, as it’s going through ‘stuff’ before it gets there, and inside it, and what comes after, it will never be truly transparent but I think it’s the closest you can get, and most people won’t be able to hear any EQ difference in it – the pedal in this state is basically acting as if it were a buffer within minimal difference to anything else. The active bass control is also round the other way as well, so when the pot is all the way counter clockwise, you are getting maximum bass, and none added when it is all the clockwise. 

To show this literally, we’ve made a few graphs to demonstrate it visually. Please bear in mind that these graphs start at about 50hz and go all the way up to the 10kHz, most guitar rigs won’t go lower or higher than this, so we’ve removed what happens above and below.

Here is the Timmy at its flattest, so that’s gain off and bass and tone all the way round clockwise. As you can see, that is what we would call over here in England as ‘flat as a pancake’, with a slight roll off at the very top end.

From here, we’ll change the EQ and gain controls to show what is happening in terms of the cut…

Gain 50%, Bass 0%, Tone 0%.



Gain 50%, Bass 0%, Tone 50%

Gain 50%, Bass 50%, Tone 50%

 

Gain 50%, Bass 0%, Tone 100%

Gain 100%, Bass 0%, Tone 0%.



Gain 100%, Bass 50%, Tone 0%.


Gain 100%, Bass 100%, Tone 0%

 

Gain 100%, Bass 50%, Tone 100%

 

Gain 100%, Bass 100%, Tone 100%

 

To round this up, I want to quickly remind everyone why a lot of us industry types scoff so much when TS and K style circuits are called transparent… the whole point of them is that they add a mid boost, which is what makes them push tube amps so well… the TS has its main peak at around 723hz and the K at 1k. They are anything but transparent!

 

 

 

 

Tom Quayle is one of the premier fusion guitarists in the UK, who is well known for his vast knowledge of music theory and is leading the forefront in terms of instructional material to help guitarists develop their technique and hone their fretboard knowledge all over the world. His legato speed and fluidity is nearly unbelievable to watch and his ear for tone is absolutely spectacular. In 2012 Tom was already using our pedals, and he and Jason Wilding struck up a great friendship. The Dual Fusion came about when Tom was discussing with Jason about how much he loved the Euphoria and Paisley drives, and how he enjoyed stacking them in different combinations to create his signature fusion sound. Fast forward about a year and it was decided that they would make a perfect pairing for a dual pedal, but there were a few things Tom wanted modified to suit his fusion playing style better. A few changes included removing some switch positions that he didn’t use, as well as the bass knob from the Euphoria side, but he wanted more transparency and clarity most of all, along with a certain response in the gain structure. The result is the Tom Quayle Signature Dual Fusion.  (Note, there is a video at the very bottom of the blog where Travis Feaster compares the Dual Fusion to the Paisley Drive and Euphoria).

Our favorite part about the Dual Fusion is the ability to setup the switching order exactly how you would want it. 1 into 2, 2 into 1, or each side set independently through different loops and combos of other pedals. This allows for infinite tone shaping options and combinations, limited only by the imagination (and cabling!).  They are made to be fantastic standalone overdrives, but stacked the magic combines into a “fusion” (sorry for the pun) of smooth and sustaining gain, while still remaining transparent and sparkling with the original guitar tone always taking center stage. This video will show you a brief description on how the switching system is setup:

The Dual Fusion is extremely versatile due to this switching option setup, and it works really well paired with humbuckers, singlecoils, P90’s and all things between. The Dual Fusion reacts directly with the guitar at the heart of it’s tone, so if you love the sound of your guitar into the amp but with loads of tweakable tone-shaping options, then this is the pedal that will do it.

Volume(s): These knobs control the overall output of each side of the Dual Fusion. The level of the volume to reach unity depends on the type of guitar and where the gain knob is set on each side. If the gain is higher, then you won’t need the volume as high, where if the gain is low you’ll have to raise the volume to compensate. This pedal overall is not excessively loud, so don’t be afraid to turn it up a bit to reach the level that you want. That being said, there’s still enough volume on tap on both sides to give a boost to the front of your amp for some great amp breakup.

Tone(s): The tone knobs dictate the amount of high end and presence each side of the Dual Fusion has. Counterclockwise will yield a darker, warmer tone with less accentuated highs, which works really well for bright guitars and amps to tune your overdrive precisely to where the sweet spot it. Clockwise it will increase the high end content of the overdrive and give it a much brighter and punchier tone, which is fantastic for humbuckers and inherently darker amps. A good place to start is a Noon, and making small incremental adjustments from there. The tone knobs react differently based on which position the Voicing switches are at on each side of the pedal. Adjusting the voicing switches may require you to adjust the tone up or down to find the sweet spot in that configuration.

Voicing Switches:

  • Side 1 (Vintage): The Smooth setting is based more on the classic *D*-style amplifier (the name rhymes with Rumble ;-) ) . The touch response is much smoother and the EQ is a bit more neutral in terms of any particular frequency being accentuated. It works equally well on any pickup selection, adding a richness to your tone even at the lowest gain settings. In this position the Tone knob may warrant a bit extra high end to cut through the mix, or to make it even smoother you can reduce the tone knob towards the counterclockwise direction. This is the preferred setting of Tom Quayle. The Fat setting has a much more pronounced midrange and more accentuated lows and low mids. This works really well for fattening up single coils or cutting through the band mix. There’s a bit of a volume bump and overall less overdrive than the Smooth setting. In this position you may want to lower the tone knob to compensate for the jump in midrange, or raise it as a boost for your tone on solos and control the output with your guitar's knobs.
  • Side 2 (Modern): The Throaty setting has warm EQ profile, which accentuates the midrange but still allows your tone to shine through like a naturally breaking up amp. This particular setting works great for rhythm chording, and it allows each note to bloom into a beautiful space of tonal bliss. There's very 3-Dimensional character to this voicing that works in all genre's of music. The Natural setting has a much more even EQ profile that lets all of the frequencies work together to give the most transparent feel while still fattening up your tone. This works really well if you love the sound of your amp but want a bit more “oomph” to sound like you’re pushing your amp into sweet sustaining overdrive.

Gain: The gain structure is really where the two sides differentiate the most. Side 1 (Vintage) has a much more open and natural gain profile, which lends itself to sound like your amp breaking up instead of a pedal doing the work. This side is the brighter of the two, and sounds great paired with humbuckers and singlecoils alike. At 9am there is a slight bit of hair added to the notes, but the guitar’s natural tone takes front and center stage. At Noon, there’s a bit more edge but with the clarity of an amp starting to breakup. Around 3pm there’s loads of added sustain and crunch, but it remains transparent and lets the natural tone of the guitar shine through. The gain is very reactive to picking dynamics, so picking lightly will give a sweet clean tone with light grit and smooth sustain. Digging in and picking more aggressively will give much more grit and sustain and really sounds like an amp overdriving, but at manageable volumes. This is imperative for fusion playing as well as most any other style of music because it allows the player to adjust their gain on the fly just by altering their touch. Side 2 (Modern) has a different feel overall and is the perfect companion to side 1. Side 2 has a more aggressive feel, with the gain structure being overall fatter, with a thicker sound, as well as being the darker of the two channels. At 9am, there’s a nice punch to your tone with some added grit that fattens up your lead playing and lets the notes bloom. At Noon, there’s more sustain and grit, and it also fattens up and has more edge on your natural tone that works great for blues and rock. At 3pm there’s a considerable amount of gain and sustain, and it covers everything from smooth fusion playing to even modern rock music.

Stacked together the two sides create a layered overdrive that fills out the sonic space tonally, but still retains your guitars natural character. Depending on which way you stack the overdrives, it will give different results. 1 into 2 will yield a fatter sustain and overdrive that’s pushed by the clarity of the vintage side into a rich, creamy overdrive with some sparkle. 2 into 1 will yield a more open, transparent gain with sparkly highs and a tight, sustaining bottom end.

Technical Stuff:

  • 5” x 4.5” x 1.5″ (88.9mm x 114.3mm x 38.1mm) – height excludes knobs and switches
  • All Analog, True Bypass
  • Power draw: 16mA – Powered via negative center tip barrel-type power (Boss style) or an internal 9v battery connector.
  • Switchable stacking order (1 into 2, 2 into 1 or you can completely separate them).