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

🛒 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

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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!