Drives in Parallel vs Drives in Series
Drives in Parallel vs Drives in Series
This video compared drives in series with drives in parallel, using two Hamilton Effects pedals built from the same underlying idea.
The setup used the Twin Boost, the first pedal I designed for Hamilton Effects, alongside the Twin Parallel, which explores the same gain stages arranged differently. Both pedals use two boost circuits, but the way those stages interact changes the character of the sound quite significantly.
Everything was recorded through a stereo reverb setup, hard-panned left and right, and then into an HX Stomp for direct recording.
Why I made this video
I made this video for two main reasons.
Firstly, I had begun overhauling several Hamilton Effects designs, and during March I was clearing the last few pedals from the previous batch. By that point the Embers had already sold out, leaving just one Twin Boost and a couple of Twin Parallels remaining.
Secondly, I wanted to demonstrate what these pedals actually do. The name Boost can sound quite utilitarian, and it can give the impression that the pedal is simply there to make the signal louder. In practice these circuits are much more about gain staging and how different gain structures interact with each other.
In that sense they function more like tools for exploring signal behaviour than traditional boost pedals.
The Twin Boost
The Twin Boost contains two independent gain stages.
One side functions primarily as a clean boost, with enough output to push an amplifier into overdrive. Any distortion heard in that configuration is coming from the amplifier being driven harder.
The other side includes a bias control, which alters the transistor bias point. This introduces more unusual textures, including slightly gated and compressed sounds that can resemble certain fuzz behaviours, but within a relatively low gain circuit.
Stacking these two stages together is where the pedal becomes more interesting.
Drives in series
When gain stages run in series, one feeds directly into the next.
The first stage shapes and clips the signal, and the second stage receives that already-processed waveform. Rather than simply increasing volume, this usually results in greater saturation, because the signal is effectively being clipped more than once.
This is the same principle that applies when stacking typical overdrive pedals on a pedalboard.
The Twin Boost follows this approach. Its two stages can also be reversed in order, allowing different interactions between the gain stages.
Drives in parallel
The Twin Parallel explores the alternative approach.
Instead of feeding one stage into the other, both circuits run in parallel and are blended together with a mix control. This means each signal path keeps its own character.
One side can remain relatively clean and fast in its response, while the other contributes additional drive or texture. Blending the two allows the sound to retain clarity and attack, while still introducing more harmonic complexity.
This can be particularly useful for rhythmic playing where definition and articulation are important.
Closing thoughts
The comparison highlights two different philosophies of gain design.
Series stacking increases saturation by pushing one stage into another.
Parallel blending allows two different gain characters to exist simultaneously and be mixed together.
Both approaches start with the same building blocks, but the structure of the circuit changes the result.
A working day: Jazzmaster setup + new pedal work
March sale: 30% off remaining Hamilton Effects pedals (once they’re gone, they’re gone)
I’m turning 30 at the end of March, so I’m clearing the last of my current stock 30% off throughout March. What’s left is genuinely the final handful from the latest batch build:
Once these are gone, they’re gone, and I won’t be making any more of these exact versions.
A working day: Jazzmaster setup + new pedal work
Today was a mix of guitar tech work and Hamilton Effects pedal building, with a bit of playing and testing in between.
I had a Jazzmaster in for a setup and scratchplate swap, moving from 9s to 10s, plus a general clean-up and dial-in.
Jazzmasters are more involved than they look because so much of the wiring and hardware is mounted to the scratchplate — switches, pots, rhythm circuit controls, the lot — so it’s the kind of job where it pays to do it properly: clean work, careful reassembly, and a full check over afterwards.
After the swap and setup, I checked action, bridge height, tuning stability and pickup positions, and made sure it played comfortably and held tune. The output on this one is hot in a good way, and once it was set up, it absolutely came alive.
If you’re local to Crawley / West Sussex and you’ve got a guitar that needs a setup, restring, hardware install, wiring work, or general TLC, drop me a message, I love doing this stuff, and it makes a huge difference to how a guitar feels.
Pedal enclosure prep + a small early reveal
After the Jazzmaster, I drilled a new enclosure (planned out on Stompbox Layouts) and started testing a new finish idea for an upcoming range.
I also showed a pedal I’ve been working on for a while: an updated Embers in a smaller format — the goal has been refining the lower-gain, cleaner, tone-shaping side of Embers so it can work like a warm, characterful preamp as well as a vintage fuzz when you push it.
Last call: the remaining pedals are 30% off in March
If you’ve been thinking about grabbing one of my pedals, this is the moment. There are only:
2x Twin Parallel
1x Twin Boost
1x Embers
…left, and once they’re gone, they’re gone.
Twin Boost: two independently switchable boosts for flexible gain staging (clean side + bias-driven side).
Twin Parallel: blends those two voices in parallel so you can keep clarity while adding gritty, bias-driven texture, plus controls to tame volume and top-end if you need it.
Embers: vintage-inspired fuzz with a switchable input level and a wide bias range.
Thanks for watching — more soon.
Mojo p90’s in my Epiphone Casino
This guitar was a wedding gift from Emily.
She got an Epiphone Casino and modded it before giving it to me — Bigsby, bone nut, upgraded tuners. It wasn’t an off-the-shelf thing; it had already been thought about. By the time all that was done, though, the budget ran out before getting to the pickups, so I received it with the stock ones still in it.
They were dark, muddy, and very high output. Everything felt pushed forward and compressed. That’s probably fine for some people, but it isn’t how I tend to play. My reference points are more Telecaster and Gretsch - clarity, space, a bit of resistance under the fingers.
Over time, that mismatch meant I didn’t pick the Casino up as much as I should have. Which felt slightly strange, given where the guitar came from.
I spent a while thinking about custom pickups, talking to a few people, going round in circles. Eventually I spoke to Marc at Mojo Pickups, and that conversation cut through things quite quickly. No overthinking, no chasing something unusual, just his Classic P90 dogear set, done properly.
While I was at it, I made a couple of visual changes. I went for black plastic dogears to shift the look slightly, and added a bound black scratchplate. I’d previously gone for the no-guard look, but this felt more settled, more intentional.
The difference once the pickups were in was, of course, immediate.
The guitar now sounds open and clear. It responds to how you play rather than flattening everything out - you can sit back and it stays calm, or lean in and it gives you more back. It works just as well for lead lines as it does for sitting on open chords. Mostly, though, it just feels easy now. There’s no sense of fighting it, compensating or just trying to get it to work. I find myself picking it up absent-mindedly and playing longer than I meant to.
The pickup swap didn’t turn the Casino into a different guitar, it just removed the last thing that was getting in the way, which, in hindsight, was all it ever needed.
Tone controls on a fuzz
A lot of people find fuzz hard to use in a rig, especially live with a band. When you add that much distortion and clipping, everything evens out. Things that normally poke through the mix get flattened. Fuzz can end up quite woolly and full, or really harsh and cutting depending on the amp.
I took the back off the Embers to access the internal bass cut switch and started experimenting. Gain almost all the way up, bias around three o’clock, volume down into a high headroom amp. Even with the input level pulled back, there was still that fizz sitting on top. Sometimes that sizzle is useful, sometimes it isn’t. I wanted the option.
Bias changes a lot of the character. Sweeping it changes the feel as much as the sound. As it comes down things get louder and fatter, and eventually loud and woolly. Any tone control has to work alongside that.
The internal switch on Embers changes the input capacitor. It’s subtle, but switching it tighter does change how the fuzz behaves, especially as you roll things back.
From there I tried a few post-fuzz tone controls. The first one was very extreme. It blanketed the top end, but it also killed volume and didn’t feel that nice. It did a job, but I didn’t love it.
The next option worked differently, but the taper wasn’t helpful and it felt like some mids were disappearing. Changing guitars made that clearer.
The third approach was simpler. A subtle low-pass using a variable resistor and capacitor. Increasing the pot value helped. This one started to feel usable. It took the edge off without smothering everything.
Thinking about it more, I realised the tone control couldn’t really be treated on its own. Working outside the circuit meant loading and impedance weren’t behaving the same way they would inside the pedal.
That led me back to low end. Embers already has a switch that changes how much bass hits the fuzz, but more bass also keeps things fuzzier as you reduce gain. I started experimenting with a filtered clean blend. The split happens before the fuzz, the clean path is high-passed, and it’s summed back in after the fuzz.
From there it goes into a buffer, a makeup gain stage, and the tone control lives as part of that stage. You can tame the high end, bring back some clean weight if you want it, and keep things usable when you underdrive it. It also makes it work on bass without needing external parallel routing.
It’s still a work in progress. Values will need changing once it’s properly inside the circuit. But it feels like the right direction.
Gain staging
This video looks at gain staging. It matters at every level, from what is happening inside pedal circuitry to bigger decisions like pedal order, amp choice, and pickups.
The Twin Boost is used as the main example. Although it is labelled a boost, it functions more like a gain staging pedal.
Setup
The board is kept simple for testing and explanation.
HX Stomp is handling the amp modelling. A Super Reverb model is used first for its high headroom, so distortion is not coming from the amp unless it is pushed hard. A small amount of reverb is added.
Pedals used:
Twin Boost
Modded Nobels ODR-1
RAT
Clean boosts
The Twin Boost contains two independent boost stages.
With the gain set fully down on the right side, it behaves as a clean level boost, expanding the available dynamic range.
The left side, with the bias control set high, can also operate cleanly. Each side has a slightly different character even when used this way.
Stacking gain stages
When multiple gain stages are used, limits appear at different points in the signal chain. Hitting those limits results in compression or clipping.
Stacking the two sides of the Twin Boost recreates this behaviour. The direction toggle changes which stage is hit first, and therefore where clipping occurs.
In this configuration, the volume control of the first stage effectively becomes an input gain, since it determines how hard the second stage is driven.
Gain and bias controls
The gain control limits the range in which the transistor remains clean.
The bias control alters the character and feel of the boost, changing how the signal is constrained at the top and bottom of its range.
Twin Parallel
The Twin Parallel runs both boost voices at the same time, with a blend control to balance between them.
Current versions
The Embers, Twin Boost, and Twin Parallel are being refined and updated. Stock of the current versions is limited, and these specific designs will not be remade in the same form.
Stacking with overdrive and distortion
With the ODR-1, clipping comes from inside the pedal itself rather than the amp. Increasing volume into an already clipping stage does not significantly increase loudness.
If a volume lift is needed after distortion, the boost must be placed after the drive stage.
The RAT demonstrates similar behaviour. Pushing into it increases compression and saturation rather than level, depending on settings.
Pedal order, amps, and pickups
Gain staging decisions affect pedal order and pedalboard layout, and similar decisions exist inside pedal design.
Changing amp models alters how boosts and drives behave. A Super Reverb and an AC30 respond differently to the same settings.
Pickup output also changes how gain stages interact. Humbuckers generally drive subsequent stages harder than single coils.
Closing thoughts
Gain staging happens everywhere, both at the micro level inside circuits and at the macro level of rigs and recording.
Reducing gain can be as useful as adding it. Rolling back volume or designing circuits to work well at lower input levels can produce sounds that feel dynamic and playable.
Fuzz Transistor Shootout
I did another deep dive into a basic Fuzz Face on a breadboard and swapped different transistors to hear what changed (gain, tone, feel).
The circuit had a big input cap at first (so loads of bass). I mentioned Embers has that internal toggle to tighten it up if it feels flubby.
I started with BC108C (high gain) and a big bias trimmer range, so there were loads of “unusable” bias spots… but it was fun for comparing.
The quick impressions
BC108C stayed the running favourite for most of the video.
2N2222A was interesting (I liked it for Twin Boost stuff), but for the Fuzz Face it felt a bit woollier at full guitar volume and less usable when rolled back at lower biases.
BC183L felt low gain and had a tiny usable bias window. I wasn’t sold.
BC549C also felt surprisingly low gain.
BC109C didn’t beat the 108s for me.
BC550C felt higher gain and interesting - made me think about mixing types rather than matching them.
Input cap swap
I tried a 22n input cap (the “tight” option like the Embers low-cut switch). Subtle but useful.
Where I ended up
After loads of swapping (and ear fatigue), I landed on:
Q1 = BC549C
Q2 = BC550C
I said I needed to listen back another day to be sure, but that combo felt like I was narrowing in on what I liked.
Wrap
I was pretty exhausted by the end, but I love this kind of experimentation, a lot of it is tiny differences and “feel”.
I said I’d expand it more later, build prototypes, and that the next couple of weeks’ content would be a mix of bits and bobs while I prep future stuff.
Twin Boost update work (first day 2026)
It was my first day back doing pedal stuff after Christmas/New Year (I’d been back teaching and doing bits in the evenings).
I’d been working on revised versions of the Twin Boost + Embers Fuzz (the two pedals I launched Hamilton Effects with just over a year ago).
After a year of feedback + living with the production models, I had a few things I wanted to revisit at the start of 2026.
A lot of notebook time went into switching headaches, especially on the Twin Boost (I didn’t want to spoil too much yet).
Revised Twin Boost — left side (bias side)
I demo’d it quiet first (volume low) so you could hear what the circuit was doing without it just being “boosted amp sounds nice”.
With normal bias (bias effect “off”) it was slightly gritty.
When I dug in, it had that squish — not quite compression, because it stayed really dynamic, but it was a feel thing (and that’s why I like bias control).
Compared to bypass it had less treble, still clarity, just less.
Turning volume up boosted an AC30 model, and obviously it sounded really nice… but that’s why I showed it quiet first.
In the new Twin Boost I said I was going to include the attenuation switch from the Twin Parallel, so you could get back down to pretty clean.
As I brought in the bias knob (starving the transistor of voltage):
volume lifted a bit
texture/crunch came from the circuit (not just the amp)
it added drive + compression but kept clarity
sharp attack stayed (T-style pickup transient still came through)
pushed far, it got quieter again so I compensated with volume
it didn’t feel like “overdrive/distortion”, but it was still gritty and fun
it was the kind of texture I listened for for rhythm parts
That was where I landed for the revised left side.
Switching / buffer bit (context)
I added a buffer before either boost because for parallel mode the split needs to be buffered.
That created some of the switching headache, because you can choose whether 1 goes into 2 or 2 goes into 1 — but I wanted both boosts to sound good after the buffer.
Revised Twin Boost — right side (classic boost side)
I rebuilt the right side around a few different transistors (I didn’t have any 5088s to hand, so I started with a 2N3904).
I tested input cap values:
22n set the high-pass before boost
I tried 100n (more bass through)
It was subtle, but I ended up leaning toward 100n so bass/baritone players could use it too.
I tried different transistors:
BC550C felt a bit hotter / biased differently (almost like “two layers” of drive / asymmetrical-ish feel), but I wasn’t convinced it was worth swapping for.
2N2222A was way higher gain and I preferred the tone — clearer, less muddy.
I found a resistor was limiting the top end of gain rather than the bottom end.
I added the same 22k input resistor I’d used on the left side, and that cleaned up the super low-gain “sizzle” nicely.
I also tested the clipping diode setup:
I preferred it how I already had it (with that extra diode to ground to soften it a bit) rather than straight hard clipping to ground.
Where I finished
I ended up happy with the right side using the 2N2222A, the input gain calmed similarly to the left side, and the same clipping diode layout as the left.
I didn’t have the right gain pot so I couldn’t test the full gain range, but it felt like a solid updated circuit plan for the next round of Twin Boosts.
Testing the Fuzz Face split-in-half
This video was another step in the Fuzz Face split-in-half experiment, this time with Pete playing it properly and reacting to it in real time.
Pete’s basically my unofficial Hamilton Effects R&D guitarist — he plays everything and gives honest feedback.
What we did
Pete played the Two-Face Fuzz (Q1, Q2, and both together)
We talked through how it worked in plain terms
We compared it to Embers Fuzz
We tried it into / alongside the Twin Boost (which is where the idea came from)
How it felt
Both on = proper fuzz, full and dynamic
Left side (Q2) = the favourite
“Fuzz Face but clean”
Big low end, clear top
Worked great into another drive
Right side (Q1) = gated, spitty, riffy
More extreme, more character
The dual volume pot changed the bias slightly as you turned it down, which felt musical rather than annoying.
Compared to Embers
Same general family
Two-Face felt:
clearer
less harsh
less full
Embers felt more finished
Two-Face felt more weird and characterful
Pete’s takeaway
Loved the look (copper hammered enclosure)
Favourite sound was the left side with that clarity on top
Right side was great for gated riff stuff
Felt creative and inspiring
Where it landed
This wasn’t meant to be a full release, but the response was strong enough that I said I’d build them to order if people want one.
Basically: a weird idea that turned out to be worth chasing.
I tried splitting a fuzz face in half
In this video I did a little experiment that followed on from the Twin Boost chat: a Fuzz Face is basically two transistors (Q1 into Q2), so I wanted to hear what each one did on its own.
So I breadboarded a Fuzz Face, then took “taps” so I could listen to Q1 only, Q2 only, and both together. Messy bench, barking dog, cup of tea - the usual.
The basic idea
If Q1 and Q2 sounded usable on their own, I thought: maybe this could be a pedal
Both on = “kind of” a Fuzz Face
Either one bypassed = two extra flavours
I also said in the video: the one-off pedal I ended up making from this experiment was for sale if someone wanted it.
Breadboard stage
I got the fuzz face working (it was noisy - breadboards always are)
I had one classic “wired it backwards” moment and fixed it
Then I started pulling the circuit apart to listen to each transistor
What Q1 sounded like
Super interesting but kind of woolly / weird
On the B and E strings it barely fuzzed at all
Very “pickup/string dependent” and finicky in a cool way
What Q2 sounded like
This was the one I actually loved
It was cleaner, had a nice sustain, and felt like a single transistor boost stage with texture
It was also the main thing causing popping/fading/rebiasing weirdness while I was troubleshooting
Building the one-off pedal
I moved it onto stripboard and into an enclosure over two days. The hard bit was basically: a stock Fuzz Face goes straight from Q1 into Q2, but if you want each half to work independently you need extra coupling/switching stuff… and the circuit is so sensitive that every little change makes it behave differently.
Also: I accidentally wired the gain control backwards. Silly.
Where I landed
Both on together sounded fun, biting, cutting, but not exactly like a Fuzz Face (extra circuitry changes it)
It didn’t clean up nicely when rolling guitar volume down - it cleaned up a bit but stayed noisy
Q1 alone was velcro-y and strange
Q2 alone was my favourite: textured, clean-ish, “overdrivey boost” vibes
The actual takeaway
The big win was discovering how cool Q2 was on its own. That sound felt like something I could actually build on for a future Hamilton Effects thing.
And yeah - if someone wanted the weird one-of-a-kind pedal from this video, I said to message me.
Twin Boost Notes
In this video, I did a little run-through of the Twin Boost and the different bits and bobs it could do.
The Twin Boost was the first pedal I designed. It was two single transistor boosts, and the idea was that when you stacked them and changed the direction, you could make a dual transistor, fuzz-face-ish overdrive/fuzz kind of thing. The original design had both sides quite clean, but I changed it up a little bit for more variety.
Clean Sound Context
I started with the clean sound, because it was helpful to contextualise what was happening. As soon as I pushed the volume, I started driving into the amp, so “unity gain” settings sounded quite subtle.
Right-Hand Side (Cleanish Boost)
The right-hand side was a fairly simple, cleanish boost.
With the volume levels kind of matched and the gain down low, it gave:
a bit of a bass cut
a bit of an upper mid boost
a little bit of texture
Pushing the volume drove the amp more
The gain knob gave gain from the pedal circuit rather than the amp
Combining gain + pushing into the amp was super dynamic
I put my modded Nobels ODR-1 in front briefly just to get a bit of texture
Overall it did that nice bluesy bit - simple and good fun.
Left-Hand Side (Fixed Gain + Bias)
The left-hand side didn’t have a gain knob in the same way - it had fixed internal gain.
With the bias knob all the way up, it got closer to the right-hand side sound (a bit more full range)
It still cut off some low end to help it cut through
The gain texture felt different: more grit, more texture, less “classic overdrive”
Turning the bias down starved the bias more
It got quieter, so I compensated with the level
Using the volume as a boost added that extra texture
It was like the biasy fuzz sound I liked, but on a cleaner platform. I liked it for an interesting rhythm part.
The Toggle in the Middle (Order / Stacking)
In the middle, the toggle determined whether internally:
the right-hand circuit went into the left, or
the left-hand circuit went into the right
When I did that, I ended up with roughly the same topology as a two-transistor fuzz (one going into the other). The volume control on the first stage acted like how hard I was hitting the second transistor, making it drive more.
The toggle pointed to whichever one was first.
Both On Together (Fuzz-ish Territory)
With both on together, I was stacking the two.
With the settings I had, the two low cuts added together, so even more low end got taken out
It got quite loud and quite gainy
The gain was coming from the pedal itself because the volume slamming into the other volume was quite high
It definitely got into fuzz territory
When the left-hand side was second, it retained the majority of its character.
Flipping the Order (Different Feel)
When I flicked the switch, the roles changed:
One side became the input gain control
The other became master volume
That put it more into high overdrive / distortion territory rather than fuzz, but the bias still flavoured the sound a lot - especially depending on whether it was second in the chain or not.
I also noticed it became a feel thing: the main sound stayed similar, but under the fingers it felt much more compressed because of what was effectively going into it.
Turning the volume right down proved what was clipping was the pedal circuit rather than the amp.
Takeaways
The right side was a simple, cleanish boost with a bass cut / upper mid boost / light texture
The left side was more about fixed gain and bias texture, from “normal” to starved/biasy
The toggle made it behave more like a two-transistor stack, fuzz-face-ish in topology
Switching order changed which side dominated and changed the feel under the fingers
It stayed super dynamic, and it covered a lot of ground depending on how it was stacked
At the end, I said I’d quite like to try one day building a Twin Boost where each half used the kind of layouts you’d see in a fuzz face setup - basically leaning even further into that two-stage idea.
Embers Fuzz Pedalboard Placement
In this video, I played around with my Embers fuzz and tried it in a range of different pedalboard positions to see how it behaved and what kind of sounds I could get out of it.
Vintage-style fuzzes can be quite picky about placement because they like to “see” the guitar’s pickups and respond dynamically. The Embers fuzz was designed to be very dynamic, so I wanted to explore how it reacted in different positions, both with and without buffering.
You might also hear the dog trotting around in the background.
Initial Pedalboard Setup
The board was slightly different from the previous week.
At the start, the signal chain was:
Guitar straight into Embers fuzz (its happiest, most classic position)
Twin Parallel
TC Electronic Third Dimension (Dimension C-style chorus)
Modded ODR-1
The Eight
HX Stomp
In the HX Stomp loop:
Dual delay (same setup as the previous video)
Short reverse room reverb
I was playing a Strat in C standard.
This setup represented the “best case” scenario for the fuzz — straight after the guitar, no buffers in front.
Embers on Its Own
With Embers first in the chain:
The fuzz was full, dynamic, and responsive
It reacted directly to the guitar’s pickups
Bias and gain changes were very noticeable
It behaved in a very classic fuzz way
This was the baseline sound.
Stacking the Embers Fuzz
Stacking with The Eight
One way I stacked the fuzz was by using The Eight to round it off:
Lower gain settings added roundness
Helped tame the harsher edges of the fuzz
Raising the input level pushed it closer to full fuzz
High input levels became very compressed
This worked well for thick, controlled sounds.
Using Embers as a Lead Texture
Another approach was using the Embers fuzz as a different flavour for lead parts:
Extreme bias sounds worked well for riffs or specific sections
Overdrive could stay on for most of the song
The fuzz became more of a texture or colour
Stacking with ODR-1
Using the ODR-1 before the fuzz:
Classic pop / rock overdrive tones
Higher gain into the fuzz caused the low end to swamp and compress heavily
Past a certain point, increasing volume only added more drive, not loudness
If I were stacking like this regularly, I would likely use the internal bass cut switch in the Embers to control low-end buildup. I normally left it off because I liked the full-range sound.
Bias & Gain Interaction
Adjusting gain and bias made a big difference:
Lower bias settings produced a very “woofing” low-mid sound
Lower gain with low bias exaggerated low-mid bloat
Pushing gain added more top-end sizzle to compensate
Pulling the bias back and pushing gain higher created more controlled, usable sounds.
Modulation Placement
There was also modulation on the board:
Chorus after drive was very audible and pronounced
It cut a lot of low end and added a sheen on top
That sheen wasn’t always desirable
I preferred modulation before the fuzz or drive, where the overdrive helped shape and tame the chorus character.
For riff-based parts, chorus after drive could still work, as it was more obvious and present.
Moving the Fuzz Later in the Chain
Next, I moved the Embers fuzz later in the signal chain, which is an unusual position for a fuzz.
Without the Companion
Sound became very harsh and brittle
Much noisier
Bias behaviour changed
Not unusable, but far from ideal
Adding the Companion
The Companion is a pickup simulator designed to help fuzz pedals behave more normally after buffers.
Placing the Companion immediately before the Embers:
Reduced noise significantly
Helped restore balance and dynamics
Allowed the fuzz to work later in the chain
It didn’t make it identical to being first, but it helped a lot.
Boosting Into the Fuzz
Using Twin Parallel into Embers:
Twin Parallel acted as a clean boost at one end of the blend
Attenuation was turned off to push the fuzz harder
Treble cut helped smooth the signal going into the fuzz
This retained the character of the fuzz while adding clarity, similar to underdriving but with more articulation.
Blending in the bias-starved side added grit on top of the clean layer underneath.
This combination worked especially well when not driving the amp too hard, letting the layers remain distinct.
Fuzz After Chorus
Running fuzz after chorus:
Created a very layered, multi-dimensional sound
Felt rich and complex at lower playing dynamics
Added depth and movement
This order was surprisingly enjoyable and inspiring.
Underdrive vs Full Fuzz
With Embers underdriven:
The sound was thick and controlled
Switching to full fuzz was dramatic and aggressive
Stacking with other drives lost some low end but remained very usable
Wah and Fuzz Experiments
I also tested wah and fuzz order, as both are sensitive to placement:
Wah before fuzz made the fuzz the dominant character
Wah after fuzz was interesting but less practical
Removing the Companion increased noise dramatically
Reintroducing the Companion restored balance
In general, having the fuzz last meant it defined the overall character of the sound.
Takeaways
Embers worked best first in the chain in a classic fuzz position
With the Companion, it could work well later in the chain
Boosting into the fuzz created layered, articulate sounds
Modulation placement made a big difference to feel and tone
Creativity in signal chain order was always valid
In the end, I liked the Embers fuzz later in the chain more than I expected. I joked about being the “hipster with the fuzz at the end of the pedalboard”, but it genuinely sounded great.
This video was as much about experimenting and listening as it was about rules. With something like the Companion, the fuzz could live almost anywhere - or without it, you could embrace the noise and different flavours that came with it.
How Many Overdrives?
In this video, I wired up a pedalboard from scratch and tried out a range of different overdrives to get a sense of what my overdrive preferences were at the time.
Pedalboard Setup
Started with a fairly blank board
Embers stayed on because I really liked the underdrive
Companion was left off to save space
Octave pedal wasn’t used this time
Added The Eight (with new knobs)
Twin Parallel and Broadcast were included
Dug out my old Blues Driver (over 15 years old)
Signal Chain
Embers
Tuner
Broadcast
Modded ODR-1
Blues Driver
Stereo delay
The board was messy and not laid out “properly” in terms of power order, but everything turned on, which was the main thing.
Clean Sound Reference
Telecaster into a stereo AC30 setup on HX Stomp
Harmonic tremolo before the split
Two identical amps with slightly different IR mic positions
Slap delay on the left (RE-201 style)
Slower, fading slap on the right
Slightly different delay times for width and space
Overdrive Notes
Embers
Used mostly with the underdrive switched on
Acted more as a low-gain overdrive than a full fuzz
Full fuzz setting was very immediate and present
Fairly full-range with some fuzzy sizzle
Very dynamic and cleaned up well from the guitar volume
Cut through well as a rhythm sound
Blues Driver
Had been a mainstay on the board for years
Usually left on at low gain
Could sound a bit sterile on its own, but worked well in context
Considered modding it, but felt it was great as it was
Broadcast
Modelled on a sound desk-style preamp
Unique breakup character
Overlapped slightly with underdriven fuzz sounds
Worked especially well as a clean texture pedal
Modded ODR-1
Different clipping diodes from stock
Less compressed and more open than the original
Sat more in a rockier overdrive / light distortion role
Retained overdrive-style dynamics
Twin Parallel
Blended between a clean Twin Boost circuit and a bias-starved side
The main control felt like a gain knob but was actually a blend
Very fast, immediate and articulate
Clear even at higher gain levels
Extremely versatile for a two-knob, two-switch pedal
The Eight
Two clipping modes and four tone modes (eight total flavours)
Asymmetrical clipping had a faster attack and more bite
Symmetrical clipping tamed things slightly
Mid-forward character worked well as a solo boost
Not modelled on anything specific, despite a screamer-like circuit shape
Takeaways
Having multiple overdrive flavours was inspiring rather than excessive
Embers covered a lot of ground as both overdrive and fuzz
Broadcast and Twin Parallel overlapped with other pedals but did things in their own way
The Eight worked particularly well as a solo boost
In reality, some pedals would likely come off to make room for reverb or delay
This session wasn’t really about finding a “best” overdrive, but about listening, stacking, and enjoying different textures.
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
🔥 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
🟢 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.
🟡 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.
📦 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
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
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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.