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

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

Repair Spotlight: Fishman Platinum Pro EQ

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

Pedal Mods: Creativity and Experimentation

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

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

Reflecting on Hamilton Effects

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

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

Thank You and Merry Christmas!

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

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

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

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

The Concept: Balancing Familiarity and Flexibility

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

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

The Experiment: First Test on an SD-1

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

Alongside the mid-control mod, I also:

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

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

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

What’s Next?

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

A dedicated pedal would feature:

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

• Carefully designed controls to balance simplicity with flexibility.

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

Want to Mod Your Pedals?

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

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

Modding the Nobels ODR-1

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

Sound Upgrades: More Headroom and Dynamics

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

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

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

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

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

Aesthetic Tweaks: A Custom Look

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

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

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

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

Is Modding for You?

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

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

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

Why Mod Your Pedals?

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

Ready to Mod Your Pedals?

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

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

Improving Playability and Solving String Breakage Issues

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

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

The Issues:

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

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

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

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

The Work:

1. Saddle Adjustments

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

2. Partial Fret Dress

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

3. Truss Rod Adjustment

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

4. Diagnosing the Built-In Tuner

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

The Results:

After the adjustments, the guitar was greatly improved:

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

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

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

Need Your Acoustic Guitar Set Up or Repaired?

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

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

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

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

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

Why Hard Clipping Fixed the Impedance Issue

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

Here’s why it worked:

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

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

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

The Role of the 7809 Voltage Regulators

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

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

Reverting to True Bypass

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

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

What I’ve Learned

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

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

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

Stay tuned for more updates!

Building Versatility into the Twin Boost: A Buffered Bypass

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

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

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

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

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

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

(re)Designing the Twin Boost Pedal - part 2

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

Smaller Circuit, Same Power

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

A Cleaner Boost

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

Enhanced Aesthetics: new graphics

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

What’s Next?

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

Updated Key Features of the Twin Boost:

• Compact circuit design

• Cleaner boost with less clipping

• New graphics and knobs

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

Designing the Twin Boost Pedal

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

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

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

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

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

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

Key Features of the Twin Boost:

• Two independent boost circuits for flexibility.

• Gain control for adding grit and texture.

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

• Option to switch boost order for different tonal results.

• Gain toggle for hard-clipping distortion.

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

New pickups in a squier Starcaster

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

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

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

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

Upgrading a 2003 Squier Jazz Bass

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

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

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