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.