As most guitarists will admit, we’re always looking for a better sound. Some look for new and perhaps innovative sounds. Others, such as myself, want to sound like the players we admire. One classic tone I had never really toyed with is the sound one gets when you crank a JTM45 Marshall. In my opinion it is in my Top 5 sounds. The likes of Clapton, Hendrix, Young (Angus), and many others, started their careers with it. There’s no need for me to recount the origins of the circuit as that’s well documented.
So, you might ask “why not just buy a JTM45?”. Well, one in good condition from the 60’s might set you back 5-10 thousand <local currency units>. A new one, such as those available at Ceriatone go for about $1000….a ‘real’ Marshall? more like $1800.
One solution is to approximate the tone in a pedal. And yes, I’ve built way too many overdrive/distortion pedals already, but not one like this. The approach here is to cascade two or more gain stages to ape the design of the JTM45. This has been done may times in plenty of pedals, but a popular one is the Z.Vex Box of Rock. I first heard of this device when it was mentioned by Davy Knowles, who is an excellent blues guitarist. Searching briefly online and I found that the design of the pedal built upon the Super Hard On booster; one of which I built last year. This struck me as a great way to go as I understood that circuit.
Even if you can’t read schematics, you can probably see a pattern repeating itself. There are 4 BS170 transistors arranged as gain stages. They’re chained together and setup in such a way to simulate the characteristics of a tube amplifier. There’s a 4th one (at the bottom right of the schematic) which is the boost section. That will have its own footswitch, so it can be turned on when you “need a bit more”.
I went for a slightly different EQ section. As it stands the BoR just has a simple Muff-style filter. As in, a low-pass filter and a high-pass filter ‘mixed’ together by the tone knob. There’s a great variant that adds a ‘mid scoop’ control, as specified beautifully here by AMZ. It was simple enough that I decided to add it myself.
I got the veroboard layout from my usual place: Guitar FX Layouts. This guy always does a great job, and is always around to help or explain things. Fantastic!
The build started off ok, but proved tricky. I quickly realised that I’d done something very wrong as it just sounded very odd. I remembered experiences from previous builds and went back with a fresh printout of the layout, and ticked off each cut, link and solder spot, and made sure the component values were correct. It turned out I had got some cuts in the wrong place. Literally as simple as that. I was careful to use sockets for the BS170s; this meant I was able to leave them out until the last minute so as to not expose them to static shock risk.
I went for some custom graphics again. As is typical I couldn’t really think of anything particularly innovative, and ended up calling it “Bed Rock”. This stands to mean two things: 1) This tone is the bed-rock of modern music 2) You can get that tone at low volumes so you can ‘rock’ in your ‘bedroom’. I know, cheesy.
Most of all I wanted to created something with a splash of colour. So many pedals look so very boring. I did the usual flow of finishing the enclosure with enamel based spray paint. This time it was a cheap can of black from Ace Hardware. I was actually going to try something new and bake the enclosure in a toaster oven, but I realised that I was already doing a kind of slow bake with my work-lights. And as I wasn’t in a hurry, I stuck to my usual routine.
For the decal itself, I used a combo of Photoshop and Illustrator to create an image. It was printed on my trusty HP Office ink-jet printer, onto white-backed decal paper; purchased from Small Bear Electronics.
I think it came out well. With a Les Paul, it’s ridiculously easy to get that classic AC/DC rhythm tone with everything at 12 o’clock, and with the boost section kicked in you’ve got just that little bit more sustain available for a solo. Even a Strat sounds good. On mild gain settings it really makes single-coils come alive. I ought to do a recording of that too, I suppose. Here’s a demo file of the device.
My setup is the same as usual: Steinberger GM-7SA plugged into an AX84 tube amp, running clean into a 2×12 open-backed cab, with Celestion G12-75T speakers, miced by a Shure SM57 being recorded by an Apple Mac.