Vintage Ibanez Overdrive II – Full Rebuild

Among the recent repairs to pass through the Hamilton Effects bench was a vintage Ibanez Overdrive II. This one is a real 70s vibe but it had seen better days.

🛠 How It Arrived
The owner had originally tried to modernise it with a 9V power socket since the pedal was originally battery only. Unfortunately it still would not power up. When it came to me the socket installation was already done (in an unusual spot at the bottom of the enclosure) but the pedal remained silent.

🔍 Diagnosis
With a fresh 9V socket installed properly it still refused to work. A quick inspection showed that a handful of components would need replacing to bring it back to life. Given its age and the amount of work required the owner decided it made more sense to go for a complete rebuild of the original circuit instead.

⚡ The Rebuild
The pedal received a full set of new components while keeping the circuit true to the original design. I also added a couple of modern touches:

• LED on off indicator (the original did not have one)

• True bypass footswitch (it arrived with a toggle switch for on off which is charming but not the most practical)

The result is a louder and more usable overdrive that still delivers that classic overdrive tone but with the reliability and convenience of a new pedal.

🎯 Outcome
Now this Overdrive II is ready to get back on a pedalboard where it belongs delivering vintage grit without the vintage unreliability.

If you have a pedal in need of repair restoration or a sympathetic modern update get in touch. I am always happy to bring great circuits back to life.

James // Hamilton Effects

Post-Brighton Update: Repairs, Prototypes & New Designs

Since the Brighton Guitar Show, I’ve been building pedals, repairing gear, and diving into some exciting new designs. Here’s what I’ve been up to.

🛠️ Pedals Built & Released

The Brighton show was a real highlight - five pedals went to new homes by the end of the day, and it was great to meet so many people face to face. Since then, I’ve been building more pedals to order and working on a couple of new additions to the Hamilton Effects range.

One of them is the Companion - a small utility pedal designed to sit before your fuzz and make it behave anywhere in your signal chain, even after buffers or wahs. It’s got a subtle, classic feel, and it’s my first build using a spray-painted enclosure design. Expect more in this style soon.

I’ve also been experimenting with an analog octave-up pedal, based on a classic circuit but tweaked for a tighter response and better tracking. It’s still unnamed, but one standalone unit is built and being tested - again with a spray-painted design for a more handmade, one-off vibe.

🧰 Pedal Repairs & Mods

Repair work has picked up as well. Recent jobs include:

• Ashdown NM-2: Replaced a damaged 9V power socket

• EHX Bass Blogger: Full refresh with a new pot, footswitch, and ribbon cable

• I’ve got a vintage Ibanez overdrive on the bench for inspection next, and a Submarine SubSix just landed, which I’ll be experimenting with soon - more on that in a future post.

⚙️ Prototypes & Development

I’m continuing to work on some bigger designs behind the scenes. The main one is a dual mono delay/reverb pedal built around the Daisy Seed. It includes:

• A Character control for shaping tone, filtering & modulation

• Analog dry-through for clarity

• Stereo output and real-time modulation of the delay line for organic, tape-like movement

I’m also nearly finished prototyping the Twin Boost Parallel - a more compact version of the Twin Boost with a single footswitch and both circuits active at once.

It features:

• A blend control between the gritty low-bias side and the cleaner boost

• A boost attenuation switch to turn it into a crunchy low-gain drive rather than such a loud boost

• A tone cut toggle to tame harsh highs on bright guitars or amps

It’s aimed at players who want the feel and harmonic grit of the Twin Boost but with a simpler, smaller, pedalboard friendly layout.

🎯 What’s Next?

I’ll be continuing to refine these new designs and take on more repairs over the next few weeks. If you’ve got something that’s misbehaving or an idea for a custom pedal feel free to get in touch.

Thanks for following along,
James // Hamilton Effects

Brighton Guitar Show 2025

This weekend I was at the Brighton Guitar Show exhibiting Hamilton Effects pedals for the first time. The show was full of incredible guitars & pedals, a good flow of players, and a chance to finally meet fellow builders I’d previously only spoken to online. It was a great experience overall, I appreciated how easy it was to set up thanks to the helpful show staff and loved the opportunity to hear people trying the pedals!

I decided to keep my stall simple, using muted, natural tones. With many exhibitors going for busy, high-impact visuals, I aimed to stand out by taking a more understated approach, letting the pedals and their sounds speak for themselves. It was great to hear so many positive comments about the design and feel of the pedals.

The Twin Boost and Embers Fuzz were highlights of the day, selling out by midday. The new HFX-8 TS-style pedal saw less interest this time, but it was good to gauge reactions and get direct feedback. I also sold my modded Boss SD-1, which went to someone who was genuinely excited about it.

Meeting other builders was a standout part of the day. Angelic FX had some inspiring designs and were great to meet, and it was good chatting with Great Eastern FX and NRG, both nearby, friendly, and supportive. The sense of community among builders at the show was encouraging.

Sales went well overall, and I was glad to come home with just two pedals remaining. It was rewarding to see so many guitarists trying the pedals and enjoying the tones. Seeing that firsthand reinforced why I love building pedals and made the show worthwhile.

Next up, I’m looking forward to getting back to designing more pedals and exploring some new ideas sparked by conversations at the show. Thanks to everyone who stopped by, tried a pedal, or shared a kind word, see you next time.

Hamilton Effects 8 – a Custom tube screamer

Looking for a boutique overdrive pedal that captures the feel of a tubescreamer? Introducing the Hamilton Effects 8, the latest of my handmade drive pedals, inspired by the TS808, reimagined to my tastes.

A Custom Request That Sparked a New Standard

The HFX 8 started life as a custom project for a customer who wanted a clone of the Tube Screamer side of their JHS Double Barrel pedal. But once I had an excuse to dive back into the TS-style circuit, I couldn't resist experimenting.

I recorded a bunch of different versions, trying out alternative clipping diodes, tweaking component values, and capturing how each one responded. Then, like a blind taste test, I listened back without knowing which version was which, choosing purely on feel and tone.

After refining the schematic based on those results, the HFX 8 took shape!

The result sounded so good, I decided to offer it as a permanent part of the Hamilton Effects range.

The HFX 8 delivers everything guitarists love about the original mid-hump style boost overdrive pedal, but with subtle upgrades that tailor it more to what I think sounds great.

• Responsive Gain Control: Smooth transition from edge-of-breakup warmth to full-on creamy drive.

• Clarity: Focused, articulate tone that sits perfectly in a band mix.

• Handmade: Every HFX pedal is built by hand in the UK, using high-quality components and an eye for detail.

• Custom Options Available: As with all Hamilton Effects builds, the HFX 8 can be tailored if you want a particular tweak or custom spec.

The branding hints at its inspiration, the standard green nod to the original, a bold 8 much like the Pods in Thunderbird 2 (can you tell I have young children?!)

Ready for Your Board

Whether you’re stacking drives, adding character to a clean amp, or looking for an inspiring always on tone, the HFX 8 fits effortlessly into any setup. If you're searching for a boutique tubescreamer alternative or simply want a handmade overdrive the HFX 8 could be the perfect fit.

Interested in ordering one or talking about custom options? Get in touch!

Custom Guitars, New Pedal Designs & Ready-to-go Fuzz

What I’ve Been Working on Lately — Custom Guitars, New Pedal Designs & Ready-to-Ship Fuzz

It’s been a busy few weeks and I thought I’d take a moment to share some of the recent projects I’ve been working on, from guitar mods to new pedal designs and builds.

🎸 Custom Guitar Mods – fender Strat & Squier Bass Work

First up, I recently gave an 80’s Squier bass a full electronics overhaul. This included rewiring the entire circuit and swapping in all-new pots, jacks, and hardware to bring the instrument back to life. It’s got a great vintage-vibe aesthetic with an angled headstock and red finish, now matched with smooth playability and rock-solid reliability.

On the six-string side, I’ve been modding a Fender Stratocaster, swapping in a Seymour Duncan Mini '59 humbucker in the bridge and wiring it to its own tone control, and reconfiguring the neck and middle pickups to share the other tone knob. It’s a super flexible setup now, perfect for players who want a Strat feel with more tonal options and a bit of humbucker bite.

If you're interested in having your own guitar customised or restored, feel free to get in touch. I love working with players to create instruments that feel and sound right for them.

🔧 Pedals in Progress – New Designs Coming Soon

I’ve just wrapped up the design phase for the octave & envelope filter pedal, it’s a bit of a beast, combining analogue-style octave down with dynamic envelope filter movement. All the circuits are locked in now, and I’ll be moving into the build stage next. Expect something super interactive and playable, tuned for bass and synth-style tones.

I’ve also been developing a Tube Screamer-inspired overdrive, with some unique tweaks. I’m meeting the client later this week to refine it together in-person, which is going to be really fun. If you’ve ever wanted a version of a classic drive that’s been dialled in to your sound, let’s talk.

🔥 Ready to build: Twin Boost and Embers Fuzz

If you’re looking for something special to add to your board now — I’ve got Twin Boost and Embers Fuzz pedals ready to build.

• The Twin Boost gives you two stacked transistor boosts, one with gain, one with bias, both with volume controls. You can flip the internal order, use one or both sides, and get everything from a clean push to gritty saturation with amp-like response.

• The Embers Fuzz is my take on a classic silicon fuzz, with a tweakable input stage (underdrive) that gives you control over how much clean signal hits the fuzz circuit. The result? Cleaner, textured tones that respond to your playing before everything gets blown up. Or max it out and go full fuzz. Your choice.

Both are handmade, built to order, and shipping from the UK.

I have Pedal build availability!

It’s coming up to the Easter holidays and i have two weeks off of teaching guitar & piano lessons, so more time to give for building pedals!

If you’re looking for handmade guitar pedals, custom boost and fuzz effects, or a modded overdrive with pro-level tone, welcome to Hamilton Effects — boutique pedals made to order in the UK by one person (me, James), with tone, vibe, and playability at the heart of every build.

Below are the pedals currently available to order. You can buy directly through this site, message me on Instagram, or email james@hamiltoneffects.com.

🔵 TWIN BOOST

From £160 | Made to order | Current lead time: 2 weeks

A versatile dual boost pedal with a personal origin — designed during paternity leave after the birth of my twins.

• Two distinct boost circuits:

  • Gain Side – smooth, dynamic clean boost to overdrive

  • Bias Side – compression, texture, and a hint of bite

• Stack both channels for gritty fuzz tones

• Great for amp pushing, stacking, or live flexibility

Custom Options:

• Effects loop between boosts

• Premium no-click footswitch upgrades

🛒 Order

🔥 EMBERS FUZZ (with Underdrive)

From £160 | Made to order | Current lead time: 2 weeks

A classic-inspired fuzz with modern versatility and usable clean tones thanks to a unique Underdrive circuit.

• Underdrive Mode: simulates rolling back your guitar volume for textured boost/overdrive

• Fuzz Mode: powerful fuzz tones with extra volume to hit high-headroom amps or other pedals

• Bias control for tone shaping and response

• Ideal for stacking fuzz into drive or amp saturation

Custom Options:

• Premium no-click footswitch upgrade

• Underdrive default-on configuration

🛒 Order

🟢 MODDED NOBELS ODR-1

£160.00 | In stock or made to order

A classic Nashville-style overdrive, modded for enhanced clarity and dynamic response.

Mod Features:

• 🔥 White LED Clipping Diodes for increased headroom and transparency

• 🎨 Red LED + upgraded knobs for a fresh look

• More responsive, touch-sensitive tone without losing the ODR-1’s natural character

Perfect for players who want a classic overdrive with more clarity, openness, and boutique feel.

🛒 Order

🟡 MODDED BOSS SD-1

£160.00 | In stock or made to order

A legendary mid-forward overdrive tuned up for modern flexibility and expression.

Mod Features:

• 🔧 Mid-Cut Control – tame the mids or dial them in for classic SD-1 bite

• ✨ Enhanced High-End – articulate treble with no harshness

• ⚡ Asymmetrical Clipping – smoother, more valve-like breakup

• 🎨 Custom knobs and visual design

This mod brings out the best of the SD-1, delivering versatility and boutique-level tone in a familiar form.

🛒 Order

📦 How to Order

All pedals are built to order and crafted by hand in Crawley, UK.
You can place an order by:

• 📲 DMing me on Instagram: @hamiltoneffects

• 📧 Emailing me directly: james@hamiltoneffects.com

• 🌐 Ordering via the website

Turnaround time is typically 2 weeks, depending on build queue and custom requests.

🙌 Let’s Build Something Together

Whether you're looking for a unique fuzz, a studio-friendly boost, or a refined version of a classic overdrive, I'm here to help you shape your sound.

These pedals are built for real players with real needs — crafted with care, character, and a bit of personal story behind every one.

👉 Follow me for demos, updates, and behind-the-scenes builds: @hamiltoneffects on Instagram

🔎 Related Keywords (for SEO):

• handmade guitar pedals UK

• boutique guitar pedals

• custom dual boost pedal

• fuzz face alternative with volume

• clean boost guitar pedal

• ODR-1 white LED mod

• SD-1 mid control mod

• underdrive circuit guitar pedal

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Building a Custom Octave & Envelope Pedal

One of the most exciting aspects of running Hamilton Effects is the ability to create fully custom guitar pedals. Whether it’s an idea inspired by existing effects or something entirely new, I love collaborating with musicians to bring unique sonic visions to life.

Recently, I’ve been working on a custom octave + envelope filter pedal for a client. It’s been a deep dive into both analogue and digital methods for generating an octave-down effect, refining circuit design, and ensuring the pedal fits within the Hamilton Effects aesthetic—all while tailoring it specifically to the player's needs.

The Process: Working with the Client

This project started as a conversation about creating an octave-down pedal with a “squelchy” envelope filter effect. Through discussions with the client, we refined the concept, deciding that both effects should be individually switchable, allowing for greater flexibility. We also worked through different control layouts, balancing simplicity with versatility.

Initially, the client wanted an octave up and down, but after discussing the development time and budget, we focused solely on octave down. The design has evolved through various iterations as I’ve experimented with different circuit approaches, keeping the client updated throughout the process.

The Process: Octave Down Development

Originally, I explored fully analogue approaches using the LM393 (a comparator) and the CD4013 (a flip-flop IC) to generate the octave-down signal. These methods worked but had their limitations—mainly in terms of tracking accuracy and overall tone. After testing various configurations, I ultimately settled on using an Arduino-based approach to generate the octave effect.

The Arduino method allows for: ✔ Better tracking across different playing styles ✔ A more synth-like, OC-2-style sub-octave sound ✔ More control over filtering and tone shaping

One challenge of using the Arduino is that it doesn’t have a built-in DAC (Digital-to-Analog Converter). However, since my analogue approach was originally going to use a square wave anyway, I found that using the PWM (pulse-width modulation) trigger output worked just fine for generating the raw octave signal. The next step is to refine how it blends with the clean signal.

Right now, I’m at a stage where I’m happy with the octave-down sound, and the next step is to build the mixer section, allowing the clean signal and octave to blend smoothly.

Refining Controls & Features

The control layout has gone through some refinements as well. Initially, I was considering a tone knob, but after experimenting, I’ve decided to go with a toggle switch that selects between two tonal modes:

• Fat Mode: A fuller, warmer octave-down tone

• Subby Mode: A deeper, more foundational low end

Additionally, I’m considering adding a Sustain knob, which will control how long the octave-down note lasts. This works by adjusting the input gain into the Arduino, which helps sustain last longer but can also affect tracking, especially on lower notes. This allows the player to fine-tune the balance between sustain and tracking accuracy.

Envelope Filter – Inspired by the MXR Dyna Filter

While I haven’t implemented the envelope filter yet, the plan is to base it on the classic MXR envelope filter schematic. The idea is to create a responsive, dynamic filter that reacts to the player's touch, adding a “squelchy” character to the octave-down sound.

The final control layout will include:

• Octave Blend: Mix between clean and octave-down

• Fat/Sub Toggle: Adjusts the tonal character of the octave

• Sustain: Adjusts how long the octave sustains

• Envelope Sensitivity: Adjusts how much the filter reacts to dynamics

• Wet/Dry Filter Mix: Controls how much of the effect is blended in

• High-Pass/Low-Pass Toggle: Offers tonal variety

• Footswitches for Octave & Envelope Filter: Allows independent activation

Aesthetic & Design – Fully Custom Graphics

The pedal’s look is just as important as its sound. Typically, Hamilton Effects pedals have a minimalist, vintage-inspired aesthetic, but for this commission, the client wanted a full-pedal graphic design rather than the usual small foil plate design. This meant rethinking the print process and how the graphics would interact with drilling and hardware placement.

I’ve ordered a test print of the design to check:

• How the artwork translates to the enclosure

• Colour accuracy & texture

• Durability when drilling through it for pots, switches, and jacks

Once that arrives, I’ll evaluate whether this method works or if adjustments are needed before committing to the final build.

Final Thoughts & Commission Info

This project has been a great example of what’s possible when working on a custom build from the ground up. It’s involved problem-solving, collaboration, and a lot of time refining circuits to ensure everything functions exactly as the client envisions.

I’m still in the middle of the process, with the next steps being: ✔ Finalizing the mixer circuit for octave and clean blend ✔ Building the envelope filter section ✔ Testing and refining the final design

If you’re interested in a fully custom guitar pedal, whether it’s an adaptation of an existing design or something completely fresh, Hamilton Effects is open for commissions. Whether you’re after a specific tone, a unique aesthetic, or both, let’s make it happen.

Get in touch if you’ve got an idea for a pedal you’d love to have built!

2025 Updates

Since the end of 2024, I’ve been deep in circuit tweaking, pedal designing, and setting up guitars. The Twin Boost and Embers Fuzz have had a few subtle revisions—nothing drastic, just small tweaks that make them even more to my taste. They still do what they were designed to do, just with a little extra magic.

I’ve also been working on my first fully custom pedal order - a bass octave and envelope filter pedal, which has been a really fun challenge. Getting the tracking right, making sure the filter sweeps in a satisfying way—it’s been a process, but I’m really excited about how it’s coming together. If you’re into synthy, funky bass tones (or just want your guitar or bass to do weird things), this one might be for you.

And because obviously, the world needs another overdrive, I’ve been experimenting with my own take on a classic circuit. More mids, more tweakability, and some added character. Whether it ends up on many pedalboards or just stays on mine forever, who knows? But I’m enjoying the ride and enjoying the green finish on the enclosure I’ve got lined up…

On the guitar setup side of things, I’ve had a couple of instruments in for some much-needed adjustments. Whether it’s a restring, sorting out high action, or just making a guitar feel better to play, it’s always satisfying work. If you’ve got a guitar gathering dust because it’s not playing quite right, I’d love to sort it out.

I’ve also been focusing more on Instagram reels, sharing different series like Sunday Sounds, where I actually use my pedals in real-world playing, and posts about guitar setups and repairs. Social media engagement is unpredictable, but if you like what I’m doing, a share or a comment always helps get the word out!

If you’re looking for a boutique guitar pedal, a custom setup, or just want to see what I’ve been working on, have a scroll through my Instagram or get in touch through my website.

Christmas Prep, Pedal Mods, and Exciting Projects: Reflecting on 2024

As the year comes to an end, I’ve been reflecting on the busy past few weeks. I only launched Hamilton Effects in November, and I didn’t know how it would go - it was a leap of faith, but I’ve been so grateful for the encouragement and interest I’ve received already. It’s been an exciting start, and I’m hopeful for what’s to come in 2025.

Repair Spotlight: Fishman Platinum Pro EQ

This week, I had the chance to work on a Fishman Platinum Pro EQ preamp. It had a temperamental 9V jack and a loose battery connection that needed some TLC. After a bit of repair work, it’s now back to being reliable and ready to be put to good use this evening!

Pedal Mods: Creativity and Experimentation

The response to my Nobels ODR-1 mod has been really exciting. It’s been amazing to hear how excited people are about the changes, and I’ve already built another to send off to someone who heard my demo on instagram.

I’ve also been experimenting with my Boss SD-1, adding a mid-control and increasing its headroom. It’s been a fun project, and I’ve been loving how it pairs with the ODR-1 as part of my own setup. And, to round things off, I’m close to finishing my latest Embers fuzz build.

Reflecting on Hamilton Effects

Launching Hamilton Effects just a few weeks ago felt like taking a big step and I’m really grateful for the support I’ve received already. As I look ahead to 2025, I’m excited about the possibilities. I hope to keep growing Hamilton Effects, building on these early projects, and helping more musicians bring their ideas to life.

Next year holds so much promise, with composing and recording projects on the horizon, more pedal builds, and plenty of ideas to explore. If you’ve got an idea for a custom pedal, need a repair, or just want to chat about your gear, I’d love to help.

Thank You and Merry Christmas!

To everyone who’s reached out, trusted me with their equipment, or shared kind words about my work—thank you. I’m so grateful for your support. Have a wonderful Christmas, and here’s to an exciting and creative new year!

Testing the Waters: A Mid-Cut Mod on a Classic Overdrive Circuit

For a while now I’ve had the idea of creating a classic TS-style circuit with a switchable mid-cut. It’s a concept that blends the familiar warmth of a tubescreamer with the versatility to sculpt the midrange—ideal for players who need adaptability on their board.

This mod was my first step in exploring that idea, and it’s something I might develop further for a future Hamilton Effects original pedal. Here’s what I did and why it’s exciting for me as a builder.

The Concept: Balancing Familiarity and Flexibility

The TS-style circuit is iconic for its midrange push, giving it that instantly recognisable tone. But sometimes you want a flatter EQ or even a slight mid scoop, especially for cleaner tones or when stacking with other pedals.

My idea was to add a switchable mid-cut, allowing the pedal to toggle between the classic mid-hump and a flatter, more neutral EQ. This would make it far more versatile, suitable for a wider range of musical styles and setups.

The Experiment: First Test on an SD-1

To test this concept, I used the Boss SD-1 Super Overdrive as my platform. I added a mid-control pot, giving the circuit adjustable control over the midrange. It’s not the same as a full-on switchable mid-cut, but it allowed me to experiment with how the mids can be shaped dynamically within a circuit.

Alongside the mid-control mod, I also:

• Tweaked the clipping diodes for a more amp-like feel by swapping one for a white LED.

• Boosted presence by adjusting the low-pass filter to allow more high-end sparkle.

• Added my usual aesthetic touches, including new knobs and a yellow LED, to give the pedal a distinctive modded vibe.

What’s Next?

This experiment was an exciting proof of concept, showing how powerful and flexible a mid-cut option could be in a TS-like circuit. The SD-1 proved to be a great testing ground, but the ultimate goal is to design a Hamilton Effects original pedal around this idea.

A dedicated pedal would feature:

• A true switchable mid-cut for instant tonal shifts.

• Carefully designed controls to balance simplicity with flexibility.

• A build tailored to modern players looking for versatility without sacrificing character.

Want to Mod Your Pedals?

If this experiment sparks your interest, I can help bring custom mods to your pedals. Whether it’s adding more tone-shaping options or making your pedals look as good as they sound, I’m always up for the challenge.

Stay tuned for more updates on this concept—who knows, you might see a Hamilton Effects original pedal with these features in the near future!

Modding the Nobels ODR-1

The Nobels ODR-1 is a legendary overdrive pedal—praised for its warm, natural tones and found on pedalboards all over the world. Recently, I decided to mod mine, and the results have been fantastic. The sound is more dynamic and touch-sensitive than ever, and I’ve even added some aesthetic touches so it stands out. If you’ve ever thought about personalising your pedals, here’s a look at what I did.

Sound Upgrades: More Headroom and Dynamics

One of the most exciting parts of modding is improving the functionality of a pedal. For the ODR-1, I swapped out the stock clipping diodes for white LEDs. Here’s why:

• Increased Headroom: The overdrive is now less compressed, delivering a more open and natural sound.

• Enhanced Dynamics: It responds beautifully to how hard or soft I play, making it ideal for touch-sensitive guitarists who rely on dynamics to shape their tone.

• Signature Warmth, with Added Clarity: The ODR-1 still has its signature natural overdrive vibe, but the white LEDs give it a modern edge with more clarity and openness.

This mod takes an already great pedal and makes it more versatile for players who value responsiveness.

Aesthetic Tweaks: A Custom Look

In addition to the tonal improvements, I wanted the pedal to stand out visually—both on my board and in case anyone else takes a closer look.

• New Red LED: I replaced the stock LED with a bright red one for a bold look.

• Updated Knobs: The knobs have been swapped out for something sleeker, so the pedal is unmistakably modded.

These changes don’t affect the sound but give the pedal a more personal, professional feel.

Is Modding for You?

Modding pedals is an exciting way to personalise your gear, but it’s not something I’d recommend for beginners to try themselves—it’s easy to damage a pedal if you’re not familiar with soldering or electronics.

If you’re interested in modding your pedals, I can handle it for you! Whether it’s improving tone, changing dynamics, or making your pedalboard stand out visually, I’ve got you covered.

If you want to learn more about modding, I recommend checking out the JHS Pedals YouTube livestreams. They’re packed with great advice and insights into modding and understanding pedals in general.

Why Mod Your Pedals?

Modding isn’t just about making a pedal sound better—it’s about tailoring it to your unique playing style and preferences. Whether you’re chasing a specific tone, looking for more versatility, or just want your pedalboard to stand out, mods can make a huge difference.

Ready to Mod Your Pedals?

If you’d like to transform your pedals like I did with the Nobels ODR-1, get in touch! I can handle the technical side and make your pedals look and sound just how you want them.

Let’s chat about your dream mods and make them happen!

Improving Playability and Solving String Breakage Issues

Acoustic guitars are great instruments, but even the best of them need some attention from time to time. Recently, I worked on a guitar that was experiencing frequent string breakages and could benefit from a more comfortable setup. The owner was looking for a reliable fix for the string issues and wanted the guitar set up nicely for consistent playability.

Here’s what I did to get the guitar playing better than before.

The Issues:

1. String Breakages
   The strings had been snapping far too often, even after the saddle had been replaced.

2. Uneven Playability
   The action felt inconsistent across the neck, making the guitar harder to play.

3. Frets with Wear
   Some frets had noticeable wear in certain positions, creating divots.

4. Non-Functional Built-In Tuner
   The onboard tuner in the preamp wasn’t working, leaving the owner to rely on external solutions.

The Work:

1. Saddle Adjustments

The saddle was fairly new but had some rough spots that could have been causing the string breakages. I smoothed it out to ensure the strings could move freely over it without catching or wearing prematurely.

2. Partial Fret Dress

Heavy use had left some divots in the frets, especially in frequently played positions. While the frets didn’t require a full replacement, I performed a partial fret dress—leveling the worn areas, re-crowning the frets, and polishing the fretboard. This improved playability and eliminated potential buzzing.

3. Truss Rod Adjustment

The truss rod was completely loose, which can affect action and neck stability. I adjusted it to provide slight relief, ensuring consistent action across the fretboard and making the guitar more comfortable to play.

4. Diagnosing the Built-In Tuner

The onboard tuner was disassembled for inspection. All connections and soldering appeared fine, but it wasn’t functioning correctly. After discussing options, the owner decided against replacing the tuner (a like-for-like replacement would have cost £130). Instead, they opted to rely on a clip-on tuner or a pedal tuner—both practical and cost-effective alternatives.

The Results:

After the adjustments, the guitar was greatly improved:

• Smooth Playability: The action is now consistent up the neck, and the polished frets feel much better under the fingers, especially for techniques like vibrato.

• Resolved String Breakages: The smoothed saddle and adjusted nut slots should eliminate future snapping issues.

• Streamlined Tuning: With the decision to skip the onboard tuner replacement, the owner has switched to a clip on headstock tuner, a reliable and versatile option for tuning both onstage and at home.

Need Your Acoustic Guitar Set Up or Repaired?

Whether your guitar is experiencing string breakages, uneven action, or you just want it set up for optimal playability, I can help. From saddle and nut adjustments to fretwork and electronics diagnosis, I can help out!

Get in touch today to book a setup or repair and bring out the best in your guitar!

Refining the Twin Boost: Hard Clipping and the Benefits of Voltage Regulation

The Twin Boost continues to evolve, and each stage of its development brings fresh challenges and opportunities to learn. In the last few days, I’ve made some key changes to the design, tackling an impedance issue that was throwing the circuit off balance and refining the way the pedal handles power. It’s been another step in shaping the Twin Boost into the pedal it’s meant to be.

The buffer I’d originally designed for a buffered bypass worked beautifully on its own but struggled when paired with the Twin Boost circuits. Even with the addition of 7809 voltage regulators to give the buffer and the boost circuits their own stable 9V supplies, the two didn’t play nicely. The impedance mismatch between the two boost circuits was the source of the problem, and whilst the original plan to include the buffer could have solved the problem, the interaction between grounds of the twin boost and buffer took this solution out of the picture.

Why Hard Clipping Fixed the Impedance Issue

One side of the Twin Boost had hard clipping in its circuit; the other didn’t in this latest revision of the pedal, in an attempt to clean up the tone. This imbalance created an impedance mismatch that caused instability when the two sides interacted. After researching and testing, I decided to return to a hard clipping circuit with two 1N4001 diodes, and it worked exactly as I’d hoped.

Here’s why it worked:

1. Balancing the Output Impedance:
   Hard clipping naturally reduces the output impedance by limiting how the signal interacts with the load. Adding this circuit brought the two sides of the Twin Boost into line, resolving the instability.

2. Controlling Signal Peaks:
   The 1N4001 diodes compress the big peaks in the signal, preventing overload and keeping the circuit stable. Since the 1N4001 diodes have a fairly high forward voltage (~0.7–1V), they only clip the larger peaks, leaving the smaller dynamics untouched. This keeps the compression subtle and avoids colouring the tone too much.

3. Maintaining the Pedal’s Core Tone:
   The hard clipping adds just enough control to smooth out the signal interaction without altering the mostly-clean, characterful boost tone I’ve worked so hard to refine. It’s a satisfying balance of function and sound.

The Role of the 7809 Voltage Regulators

Although the buffer didn’t make it into the final design, I’m leaving the 7809 regulators in place. One of their big advantages is that they allow the pedal to handle higher input voltages, up to 18V or more, while still regulating the output to a stable 9V.

This means the Twin Boost can work with a wider range of power supplies without risking damage to the circuits. Because the regulators bring the voltage down to 9V, the functionality of the circuits stays the same, but the extra flexibility is a nice bonus for players using higher-voltage supplies. It’s one of those behind-the-scenes features that adds robustness without needing to shout about it.

Reverting to True Bypass

With the impedance issue solved, I’ve decided to revert the pedal back to true bypass. While the buffered bypass idea was an interesting experiment, I think true bypass suits the Twin Boost’s design philosophy better. It keeps the signal path simple and avoids introducing unnecessary complexity.

That said, the work I’ve done on the buffer circuit hasn’t gone to waste. The buffer design worked brilliantly when tested as a standalone circuit, and I’m planning to offer it as an option for anyone who might want to incorporate it into their setup. Whether as a custom addition or part of a future project, it’s nice to know the design has potential beyond this one pedal.

What I’ve Learned

This part of the Twin Boost’s development has been a reminder of how every detail in a circuit can have a ripple effect. Adding the hard clipping diodes not only resolved the impedance issue but also made the pedal more stable and predictable overall. Meanwhile, the 7809 regulators have given the design an extra layer of flexibility, making it easier to integrate into different rigs.

What’s exciting about this process is how much it pushes me to understand the circuits I’m working with on a deeper level. From researching impedance matching to testing how components interact, it’s been a real mix of creativity and technical problem-solving. That’s what I love about designing pedals—it’s never just one thing; it’s all the parts working together.

The Twin Boost is getting closer to where I want it to be, and I can’t wait to share more as it comes together. If you’ve been following along, thanks for sticking with me through the ups and downs. As always, I’d love to hear your thoughts or questions—whether it’s about the hard clipping, the voltage regulation, or anything else, feel free to get in touch.

Stay tuned for more updates!

Building Versatility into the Twin Boost: A Buffered Bypass

In the ongoing journey of developing the Twin Boost, my approach has always been hands-on, starting with existing designs and modifying them to explore new possibilities. This method, blending curiosity with problem-solving, has been instrumental in shaping my pedal designs.

The Twin Boost aims to deliver a mostly-clean yet characterful boost, featuring two independent channels and a direction toggle to switch the signal flow. Achieving the desired sound involved a journey of trial and error, understanding how different components influence tone, and researching the underlying physics to refine the design. The result is a boost that maintains clarity while adding its own distinctive flavour.

During testing, I noticed the Twin Boost performed optimally when following a buffered guitar signal. To ensure versatility across various pedalboard configurations, I decided to incorporate a buffered bypass. This would maintain signal integrity regardless of the pedal's position in the chain.

Designing a buffer to handle both the input and output seemed straightforward initially. However, integrating it with the Twin Boost's existing circuitry presented challenges. Testing the buffer independently with its own power supply yielded excellent results—transparent and stable. But when sharing the Twin Boost's 9V supply, the circuits interfered, disrupting the pedal's performance.

To address this, I plan to implement a 7809 voltage regulator for the buffer circuit, providing it with a dedicated, regulated 9V supply. This isolation should prevent interference between the buffer and the Twin Boost circuits. Additionally, incorporating decoupling capacitors will help stabilise the power supply, ensuring both circuits operate harmoniously.

This experience underscores the intricate relationship between creativity and technology in pedal design. Each challenge offers an opportunity to deepen my understanding of electronics and sound, reinforcing the importance of a hands-on, exploratory approach. As the Twin Boost evolves, I look forward to sharing further developments and insights from this journey.

(re)Designing the Twin Boost Pedal - part 2

After working on the Twin Boost for over a year, refining and tweaking, playing it live and seeing it come to life , I began to see where I could make it even better. This redesign is all about refining the Twin Boost’s core features, condensing its circuit, and enhancing its aesthetic appeal while keeping its original character intact.

Smaller Circuit, Same Power

One of my main goals for this redesign was to make the circuit board more compact without sacrificing the tonal versatility that players loved. Through a lot of trial and some interesting veroboard work, I was able to shrink down the circuit, making it easier to fit inside the enclosure and keep the same physical layout without it being such a squash. It’s a small change in size but a huge win in practicality.

A Cleaner Boost

While the original Twin Boost had a switchable hard-clipping circuit in the bias side for a more aggressive drive, I ultimately decided to remove it in this version. The new design focuses on delivering a cleaner boost without the clipping—ideal for more transparency and the ability to stack the pedal with other gain stages. With this cleaner boost, the character and nuance of your guitar and amp can shine through, at higher volumes, and the bias knob continues to change up the tone, especially when stacked.

Enhanced Aesthetics: new graphics

I’ve also worked on giving the Twin Boost a more defined look. Guitarists know that a pedal’s look often matters just as much as its sound, so I wanted the Twin Boost to visually stand out, and to have a design trend which can be built upon in future pedals, like the Embers Fuzz. The new graphics keep the foil-y brushed aluminium label that aligns with the pedal’s build and brand, combined with new knobs that hold up to serious use, the Twin Boost is now as reliable in appearance as it is in tone.

What’s Next?

This version of the Twin Boost has me excited for the future. I’m always open to further suggestions from fellow tone chasers, and I’m already experimenting with new tweaks and features for future iterations. As always, if you have any feedback or ideas, I’d love to hear from you!

Updated Key Features of the Twin Boost:

• Compact circuit design

• Cleaner boost with less clipping

• New graphics and knobs

If you’re looking for a flexible, high-quality boost pedal, or if you’d like a custom design built around your own needs, feel free to get in touch with me at Hamilton Effects. The Twin Boost is evolving, and I’d love for you to be part of its journey.

Designing the Twin Boost Pedal

The Twin Boost pedal was the first pedal I ever designed, inspired by a concept my friend Pete and I wanted to explore - how two volume boost pedals, when stacked, could create drive. The idea was simple, the first pedal’s output becomes your gain control, and the second adjusts the overall volume. I wanted to explore this concept further and bring it into my own design.

Since I was just starting to learn pedal circuitry, the process was hands-on and involved a lot of experimentation with different components. After many trials, I ended up with the Twin Boost—a dual-boost pedal that offers two independent circuits. The first circuit has a gain control for adding grit, while the second has a bias control that adjusts the transistor’s response. This allows you to tweak the character of the boost, from a clean push to fuzz-like textures, especially at lower gain settings.

As someone who loves stacking low-gain pedals to create subtle variations in tone, the Twin Boost quickly became an essential part of my board. It’s designed to give a wide range of tonal options—from clean, transparent boosts to more saturated, overdriven sounds. With both sides engaged, the variety of tones on offer is huge. You can switch the order of the boosts for different results, and there’s a gain toggle on the bias side that adds a hard-clipping circuit for a more aggressive, rat-like drive.

Finding the right look for the pedal was a challenge - I was very aware quite how much guitarists buy with their eyes. You’d hope it’s all about tone, but the visual side of things really matters. I struggled to settle on a design I was happy with—I’d look at my pedalboard and try to find common themes in the pedals I liked visually, but there wasn’t much consistency to draw inspiration from. I went through a bunch of different knobs because the originals didn’t stay on well, and I’m planning to improve the labels with vinyl or foil stickers. I’ll share more pictures once I’ve landed on a final design.

Building the pedal was a bit of a journey. Much of it was done during late nights while my newborn twins were(n’t) asleep, which is why I named it the Twin Boost—two boosts, two babies.

Looking ahead, I’m already thinking about potential updates, like adding a tone control or maybe even an effects loop to allow other pedals to be inserted between the two boosts. But for now, the Twin Boost is a versatile, reliable boost pedal that I’m pleased to have created. It’s great for anyone who, like me, loves the flexibility of stacking low-gain pedals for different textures and sounds.

Key Features of the Twin Boost:

• Two independent boost circuits for flexibility.

• Gain control for adding grit and texture.

• Bias control for shaping the transistor response and adding fuzz-like tones.

• Option to switch boost order for different tonal results.

• Gain toggle for hard-clipping distortion.

If you're interested in adding the Twin Boost to your pedalboard, or if you’d like to know more about my custom pedal builds, get in touch with me to discuss what you're after!

New pickups in a squier Starcaster

I recently upgraded the pickups in my Squier Starcaster, which originally had quite a dark, muddy sound from what felt like quite high output pickups. After trying a treble bleed mod using an orange drop capacitor and constantly running the guitar with the volume down to brighten things up, I still wasn’t fully satisfied with the tone. So, I decided to go with a Magneto Design Labs TT-59 (PAF-style pickup) in the bridge and a Power90 (humbucker sized P90) in the neck.

The TT-59 brings that classic PAF tone—clear and balanced, perfect for overdriven sounds. Meanwhile, the Power90 adds a P90-style warmth in the neck, offering a punchy tone with clarity that doesn’t get lost with gain.

One of the more challenging aspects of working on semi-hollow guitars is dealing with the electronics. Since everything has to be accessed through the f-holes, getting the pickup switch out and back in can be a bit stressful. I used some spare wire to guide the switch back into place after installing the new pickups, which is a handy trick to avoid losing it inside the body.

After installing the new pickups, I decided to experiment with wrapping the strings over the bridge, a setup I enjoyed on a vintage Les Paul I recently played. The new pickups and this setup have completely transformed the guitar’s sound and feel, and I’m really looking forward to trying it live soon!

Upgrading a 2003 Squier Jazz Bass

This project began with a well-loved, stock 2003 Squier Jazz Bass, a birthday gift for Ash, who’d owned it for over a decade. The bass had seen better days, with old strings that left residue on your fingers and a constantly slipped out of tune. First up, I swapped in Lollar pickups and installed a new custom wiring harness with CTS pots, a paper-in-oil tone cap and a switchcraft jack, bringing clarity and control to the tone. Next, I adjusted the truss rod and bridge height to fix the action, which was too high for comfortable play. After getting the action right, I replaced the original tuners with Schaller tuners to sort out the tuning instability. Once the new half-wound strings were on, I intonated the bass for precise tuning across the fretboard.

The frets also needed some love, so I gave them a thorough polish and conditioned the fretboard using Monty’s Montypresso. The owner had picked a mint green 3-ply scratchplate for the refreshed look, and I had to drill new holes to get it to fit the body. Along with tele-style knobs, it was a nice, subtle visual upgrade.

Having played in the band with the Ash since then, I can say it sounds great—he mentioned how it’s the perfect mix of the familiar bass he loves and the improvements it needed.