Readers have been asking me to do this rundown for a while now - although in terms of like-for-like comparison there’s quite a broad basis for what an ’Evolved Tone Enhancer’ is.
Traditionally boosts have always been seen to be tone enhancers - while the new paradigm means that it’s more of a combination of several different ’enhancements’, just being an Echoplex or Space Echo style preamp / boost is no longer enough - so for the purposes of this article you typically need 3 separate ingredients to be in the mix - in order to qualify.
I also don’t think that Channel Strips typically fit this new format either, as those are largely just EQ-based, while there are arguments for including those too (I’ve left them out for now!). I’ve tried to cast as broad a net as is pertinent, and am quietly satisfied that the 12 selected here are most of the leading lights of this relatively new trend - with the CTC Super Conductor and Source Audio Zio only very recently launched.
Becos Solo Boost Master Preamp Pedal
The starting point for me is my very own front-of-chain trio of 'Tone-Enhancers' per the above visual - that I fairly recently shared within my core Pedal-Chain Explainer article. In fact I include two of those in this category, while the Thorpy Heavy Water is rather more a pure boost - dual-natured though as it is.
I have included small legends under each pedal to indicate what essentially they are doing in the order of how significant hat element is feautured on the pedal. Meaning that one aspect is typically dominant - Boost / Buffer / Compressor / EQ, and the others are supporting cast or supplementary.
The 29 Pedals EUNA and OAMP are essentially mainly Buffers - input and output varieties - but with some additional features and smart abilities. They are typically referred to as a Unity Amplifier and Output Amplifier respectively - or more generally as 'Line Drivers'.
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So typically a selection of 3 or more of those per pedal. Where the tonal impact of some of those can be somewhat more academic in places and may impact on feel and dynamics more than absolute enhanced tone as such! Note that this article has evolved very fluently and frequently - and may end up at quite a different point from where it started out from!
Of these 12I currently own just the 4 - the two JA's that are part of my essential front-of-chain trio, the Chase Bliss Condor and Thorpy Team Medic, while I plan to add the Super Conductor, Unit67 and Zenith to the collection at some stage too.
The two 29 Pedals obviously work a treat, but are somewhat over-sized for my preferences - I just don't have the luxury of dedicating that much space to those types of pedals. So I use my trio at the front of the chain, and the Boss EQ-200 towards its rear as a balancing EQ - having that means I can do without an output buffer in my rear section! Those 4 devices together do a lot more than the two 29 Pedals combined - albeit without the benefit of their advanced power management. I will likely get a ThorpyFX FLIR Mini Buffer for the tail-end of the chain eventually - likely before the end of the year!
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EUNA is actually an acronym for Elite UNity Amplifier - otherwise known as a Line Driver, and is essentially an enhanced Buffer circuit which fortifies the signal.
At its core the buffer circuit ensures that the line throughput remains constantly high fidelity - while each of the 3 switches allows you to further enhance the Harmonics, Brightness and Low Frequencies of that signal.
Buffers are all about ensuring optimal signal strength while this also has additions which further enhance the character and quality of that signal.
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I really like the concept of these - which are actually slightly over-sized versus BB-style enclosures, and the fact that they are horizontally oriented just isn't ergonomic or practical for most. Buffers often live in Micro pedal enclosures - even ones with some added capablilities - while these are undeniably large - which is why I'm seeing them increasingly placed in an upright position to fit onto boards.
The reason for the circuit's complexity is largely down to its 'Whatever' power source handling and advanced headroom management which is able to absorb a wide range of input levels and fully preserve dynamic range, and even improve pickup clarity and articulation.
A great concept for sure which really works - while the size component is a challenge for me. Also 29 Pedals recommend you deploy both their EUNA and OAMP pedals - which take up a lot of real estate. They need to double-decker the boards or something - whatever is needed to bring these down a size or two!
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Here the acronym is Output AMPlifier - which is an end-of-chain signal driver that can boost the signal strength by up to +29dB.
Once more there is complex 'Whatever' power and headroom management, and for this essential output buffer circuit we get 2 variable controls, and 2 x 3-way switches, where the two gain stages are categorised as I + O | Input + Output I assume, and each stage has a Hi and Lo setting and a fixed tone filter (BR and DR)
OAMP has a strong enough drive to drive several loads, passive splitters are no problem. You can manage the 29dB of gain using the two toggle switches, each stage has low and hi gain settings as well as a fixed tone filter. The Level control sits between the two gain stages and doesn't affect the overall input and output impedances. The Presence control dials in some classic amp-style mid-scoop to tailor the midrange drive, or simulate an amp when going direct.
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Controls - Gain (Ramp), Freq (Mids), Volume, Bass, Mids, LPF, Bass Impact, Mids Impact, Filter Strength, Drive / Hold Footswitch, Bypass. Engage Footswitch.
Actually a really cool Utility pedal which you can Ramp and use as a modulation also - it really has 100 uses. While I actually mostly use this as a really articular Overdrive - where the enhanced EQ section allows you to carve out the frequencies really cleverly.
Alas this wonder pedal is now discontinued - and I personally actually came quite late to it. I had intended on getting it much earlier - but other priorities got in the way.
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As with all Chase Bliss stuff you have 16 dip-switches which really take this pedal above and beyond and allow you to do some clever stuff with it. Or you can use it in a relatively vanilla manner like I mostly do.
I for sure need to spend more time on the ramping site which delivers a wonderful Tremolo too amongst many other smart function.
So I've pretty much very recently done a review of this one - which is slightly reminiscent of the Source Audio Zio, but with the tertiary control being somewhat more useful.
Solo Boost Master [retired]
Complemented by a Original / Fat EQ switch, and a 9V / 18V Headroom switch. Meaning you have multiple tone-enhancing elements that you can use in conjunction with each other.
This is the one that comes nearest to my favourite JA Bloom - and both in fact feature at their core - a combination of Boost, EQ and Compression - albeit not necessarily in the same order of prominence. And where this Unit has a smart input Buffer in addition.
The Unit67 is principally a Boost, then EQ, and a fairly simple 1176 style parallel Compressor. Everyone that deploys one though reports that it's impact is extraordinary in adding dynamics and articulation to your core guitar tone. I have considered this several times as a replacement for the JA Bloom, but for that to work it would really need similarly smart Footswitch controls - so you can deploy each of those elements individually or serially - like you can on the Bloom.
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I very much feel that his is an exceptional tone enhancer as is, and I will for sure be adding this to the collection soon enough. I still need to figure out how I can best deploy this in place of my JA Bloom (on rotation) - which I use very granularly - switching in and out each of those elements fairly dynamically and instantly as required.
The Unit67 is somewhat unitary in that sense - where the Bloom is fully granular because of its clever dual footswitches. Each has its advantages, while I really seem to need the Bloom's extra flexibility in how I play - as I often switch out the compression - and use the EQ and Boost very surgically and for very particular purposes!
Controls - Comp, Blend, Level, Bass, Middle, Treble, Mid Q : Wide / Medium / Narrow, Mid Frequency : 500Hz / 800Hz / 1.2kHz, Circuit Oder : C>EQ / Parallel / EQ>C, Secret Switching : EQ + Comp / EQ or Comp / Comp Always On / EQ Always On / Cycle } Bypass > Comp > EQ > Both.
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