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The Ibanez Tube Screamer (TS808/TS9) is a guitar overdrive pedal, made by Ibanez. The pedal has a characteristic mid-boosted tone popular with blues, rock and metal players. The Tube Screamer has been used by many guitarists to create their signature sound, and is one of the most successful, widely copied, and custom-modified ("modded") overdrive pedals in the history of the electric guitar. [1] [2]
The Tube Screamer has a drive knob, a tone knob, and a level knob. The drive knob adjusts gain (which can affect the amount of distortion), the tone knob adjusts treble and the level knob adjusts the output volume of the pedal. The Tube Screamer name refers to the pedal's ability to drive the preamp section of a tube amplifier,[ citation needed ] resulting in more gain from the amp itself. The pedal also provides a slight boost to mid-range frequencies, helping to reduce muddiness by cutting bass frequencies when used in this way. Some guitarists prefer this sort of equalization, as it helps to keep their sound from getting lost in the overall audio mix of the band. This, along with its versatility as a simple distortion, has made the pedal very popular for a wide variety of styles and situations. [3] [2]
The pedal was produced with many variants:
The Tube Screamer pedal was preceded by the orange "Overdrive" (OD) and green "Overdrive-II" (OD-II). These came in narrower boxes without battery covers. There was also a reddish "Overdrive-II" which had a housing very similar to the TS-808/TS808. The green OD-II had a circuit similar to the TS808; however, the OD and OD-II had a more distorted circuit.
Once Ibanez discontinued the 9 series pedals, they introduced the "Master" or "L" series. These were only made in 1985, and did not have the Tube Screamer in the line-up.
A rare and valuable version of the Tube Screamer was the ST9 Super Tube Screamer, which was sold only in Europe and Australia.[ citation needed ]
The TS9 and TS808 pedals have been reissued, and according to the company, feature the same circuitry, electronics and design components that helped shape the famous Tube Screamer sound. Some musicians have a technician perform modifications to the unit to change the sound to their liking. Also, Maxon, which produced the original Tube Screamer pedals for the Ibanez brand in the 1970s–1980s, produce their own version of the Tube Screamer (called Overdrives: the OD-808 and OD-9 as opposed to Tube Screamer, TS).
According to Susumu Tamura (田村進) of Maxon, the designer of the Tube Screamer, the initial design concept was to create something to compete with BOSS OD-1 and MXR Distortion+. [4] In doing so, he used an innovative circuit, using the monolithic operational amplifier device, introduced in early 70s, to create a pedal sound different from the "discrete" transistorized 60's fuzzes.
The overdrive is produced using two silicon diodes in anti-parallel arrangement into the negative feedback circuit of an operational amplifier ("op-amp") circuit, to produce soft, symmetrical distortion of the input waveform. When the output exceeds the forward volt drop of the diodes the amplifier gain is much lower, effectively limiting the output to + and - one diode volt-drop, although due to the exponential I-V curve of the diodes this is not a hard limit. A "drive" potentiomenter in the feedback path provides variable gain. The original 4558 based circuit uses transistor buffers at both the input and the output, to improve impedance matching. [5] This is mathematically equivalent to mixing the input signal with a clipped version of itself, however. Thought of this way, it is said that this "preserves the original dynamics of the input signal which otherwise would get lost at the threshold of clipping" and "avoids muddiness and vastly improves clarity and responsiveness." [6]
Characteristic of the distortion is the symmetrical nature, [7] which produces mainly odd-order harmonics for a sine wave input. [8] All this justifies the "vacuum tube" sound, and the "screaming" tone. As well, Tamura added a simple but effective post-distortion equalization circuit with a first-order high-pass shelving filter that "is linearly dependent on its gain", an approach called "progressivity". [6] The overdrive stage is followed by a simple low-pass filter and active tone control circuit and volume control, using the second op-amp available on-chip.
The circuit uses transistor buffers at both the input and the output, and a modern electronic field-effect transistor (FET) "noiseless" bypass switching to turn the effect on and off. The TS7 allows switching between a "TS9" mode, in which the circuit and all relevant component values are identical to the vintage model, and a "Hot" mode, which introduces an additional gain stage. Yet another variant is the Ibanez ST9 Super Tube that features a fourth knob ("Mid Boost"), which provides a harder attack.
Much has been made of the operational amplifier chips used in the various versions of the Tube Screamer pedal, and several "fairy tales" about the merits of these devices have been written on the subject. [9] [10] The JRC4558D chip is well-regarded by some. [1]
The (RC)4558 is a low priced, general purpose dual operational amplifier, introduced mid 70s by Texas Instruments as an "improved" version of the early 741, and used in thousands of consumer and industrial designs. [11] In fact, JRC4558D is nothing else than the licensed product manufactured by Japan Radio Company (日本無線株式会社), and identical to any other 4558 chip. Other popular chips used included the TL072 (a JFET input type, highly popular in 80s), "original" TI RC4558P, and OPA2134.[ citation needed ] The TA75558 (yet another version, made by Toshiba), standard in the TS10 alongside the 4558, is strangely regarded as the "ugly duckling of TS opamps". [1]
In reality, the type of op-amp has little to do with the sound of the pedal, which is dominated by the diodes in the op-amp's feedback path. [12] [13] (See Op-amp swapping.)
The pedal was popularized by Stevie Ray Vaughan and Lee Ritenour. Phish guitarist Trey Anastasio implements two TS9 Tube Screamers in his rig. Gary Moore used the TS9 predominantly for 30 years which was key to his signature lead guitar sound.
It is widely used in genres as diverse as country, blues and metal. The Tube Screamer has since spawned many clones and modified versions. [14] Possible modifications include use of mismatched, or different diodes (for example, a silicon and a germanium device), or more than two diodes in various arrangements, or modified tone circuits. It is also used by many metal guitarists before the lead channel of the high gain amps to make distortion more focused and to cut the low end. Notable modifiers of the pedal include Robert Keeley of Keeley Electronics and Mike Piera of AnalogMan. [15] [16] Joan Jett used a TS9DX model. Arctic Monkeys frontman Alex Turner Also used an Ibanez Tube Screamer for the band’s second Album: Favourite Worst Nightmare [17]
An effects unit or effects pedal is an electronic device that alters the sound of a musical instrument or other audio source through audio signal processing.
A guitar amplifier is an electronic device or system that strengthens the electrical signal from a pickup on an electric guitar, bass guitar, or acoustic guitar so that it can produce sound through one or more loudspeakers, which are typically housed in a wooden cabinet. A guitar amplifier may be a standalone wood or metal cabinet that contains only the power amplifier circuits, requiring the use of a separate speaker cabinet–or it may be a "combo" amplifier, which contains both the amplifier and one or more speakers in a wooden cabinet. There is a wide range of sizes and power ratings for guitar amplifiers, from small, lightweight "practice amplifiers" with a single 6-inch speaker and a 10-watt amp to heavy combo amps with four 10-inch or four 12-inch speakers and a 100-watt amplifier, which are loud enough to use in a nightclub or bar performance.
Boss is a manufacturer of effects pedals for electric guitar and bass guitar. It is a division of the Roland Corporation, a Japanese manufacturer that specializes in musical equipment and accessories. For many years Boss has manufactured a wide range of products related to effects processing for guitars, including "compact" and "twin" effects pedals, multi-effect pedals, electronic tuners and pedal boards. In more recent times, Boss expanded their product range by including digital studios, rhythm machines, samplers and other electronic music equipment. They also are now manufacturing solid-state amplifiers and speaker heads such as the Waza and the Katana. Both feature multi-effects units meant to emulate Boss' classic effects pedals.
Marshall is a British company that designs and manufactures music amplifiers, speaker cabinets, brands personal headphones and earphones, drums and bongos. The company also owns a record label called Marshall Records. It was founded in London by drum shop owner and drummer, Jim Marshall, and is now based in Bletchley, Milton Keynes, England.
Electro-Harmonix is a New York City-based company that makes electronic audio processors and sells rebranded vacuum tubes. The company was founded by Mike Matthews in 1968. It is best known for a series of guitar effects pedals introduced in the 1970s and 1990s. EHX also made a line of guitars in the 1970s.
Dumble was a guitar amplifier manufacturer in Los Angeles, California.
Peter Hayes is an American musician and singer, best known as a member of the rock band Black Rebel Motorcycle Club.
The Pro Co "The RAT" is a distortion pedal produced by Pro Co Sound. The original RAT was developed in the basement of Pro Co's Kalamazoo, Michigan facility in 1978. Numerous variations of the original RAT pedal are still being produced today.
A bass amplifier is a musical instrument electronic device that uses electrical power to make lower-pitched instruments such as the bass guitar or double bass loud enough to be heard by the performers and audience. Bass amps typically consist of a preamplifier, tone controls, a power amplifier and one or more loudspeakers ("drivers") in a cabinet.
The Fuzz Face is an effects pedal for electric guitar, used also by some electric bass players. It is designed to produce a distorted sound referred to as "fuzz", originally achieved through accident such as broken electrical components or damaged speakers.
Distortion and overdrive are forms of audio signal processing used to alter the sound of amplified electric musical instruments, usually by increasing their gain, producing a "fuzzy", "growling", or "gritty" tone. Distortion is most commonly used with the electric guitar, but may also be used with other electric instruments such as electric bass, electric piano, synthesizer and Hammond organ. Guitarists playing electric blues originally obtained an overdriven sound by turning up their vacuum tube-powered guitar amplifiers to high volumes, which caused the signal to distort. While overdriven tube amps are still used to obtain overdrive, especially in genres like blues and rockabilly, a number of other ways to produce distortion have been developed since the 1960s, such as distortion effect pedals. The growling tone of a distorted electric guitar is a key part of many genres, including blues and many rock music genres, notably hard rock, punk rock, hardcore punk, acid rock, and heavy metal music, while the use of distorted bass has been essential in a genre of hip hop music and alternative hip hop known as "SoundCloud rap".
A treble booster is an effects unit used by guitarists to increase the high end of their tonal spectrum. Many units boost the overall volume as well. Treble boosters were commonly used by guitarists in the 1960s and 1970s. During the last couple of decades, their popularity has increased again and many clones and reissues of the classic circuits have become available.
Bass effects are electronic effects units that are designed for use with an electric bass and a bass amplifier, or for an upright bass and a bass amp or PA system. Bass effects are commonly available in stompbox-style pedals, which are metal or plastic boxes with a foot-operated pedal switch or button which turns the effect on and off. Most pedals also have knobs to control the tone, volume and effect level. Some bass effects are available in 19" rackmount units, which can be mounted in a road case. As well, some bass amplifiers have built-in effects, such as compression, overdrive or chorus.
T-Rex ApS is a manufacturer of handmade electric guitar effects pedals.
Maxon is the brand name used by the Nisshin Onpa company of Japan for its line of effects pedals designed for guitar and bass.
The Fender Champ was a guitar amplifier made by Fender. It was introduced in 1948 and discontinued in 1982. An updated version was introduced in 2006 as part of the "Vintage Modified" line.
BJFE Guitar Effects is a company which manufactures effects pedals for use with instruments such as an electric guitar. These pedals are commonly used by guitarists to modify the sound of their guitar before it reaches the amp. The company is located in Sweden, and was founded in 2000 by Björn Juhl. "BJFE" stands for Björn Juhl Förstärkarelektronik. Pedal types include distortion, overdrive, "vibe" (vibrato), compression, and equalization (EQ). Due to the limited production and handbuilt nature, these pedals are considered "boutique" guitar effects.
Keeley Electronics is an American manufacturer of effect units for electric guitars. The company, founded by Robert Keeley and operating from Oklahoma City, Oklahoma, started with the Keeley Compressor pedal along with modifications for effects by Boss and Ibanez.
Fuzz bass is a style of playing the electric bass or modifying its signal that produces a buzzy, distorted, overdriven sound, as the name implies. Overdriving a bass signal significantly changes the timbre, adds higher overtones (harmonics), increases the sustain, and, if the gain is turned up high enough, creates a "breaking up" sound characterized by a growling, buzzy tone.
The Klon Centaur is an overdrive pedal made by the American engineer Bill Finnegan between 1994 and 2008. Finnegan hoped to create a pedal that would recreate the harmonically rich distortion of a guitar amplifier at a high volume.
{{cite web}}: CS1 maint: unfit URL (link)And do remember that the op-amp has very little to do with the actual clipping in a TS circuit. It's just there to amplify the signal - the diodes [do] the clipping. Changing one or both of the diodes will make a huge impact on the overdrive character, while the differences incurred by different op-amps are minute.
in a guitar pedal there are a lot of factors that can modify the sound even more than the opamp can do: the components placement, values tolerance, circuit layout, the power supply, etc ... by actual listening test as well as oscilloscope traces and spectrum analysis, there is no audible difference between today's 0.5$ NJM4558D and the old ones.