Bock Effects: Bock Effects: Unholy Trinity. Dual Voice Modes TS Overdrive Valve Hybrid Boutique Guitar Effects Unit
Bock Effects: Unholy Trinity. Dual Voice Modes UTS808 Overdrive Valve Hybrid Boutique Guitar Effects Unit
Feautring:
- 12au7 Valves
- LEDS Clipping Combo
- 1/4 Inch Barrel Jacks
- Hand Wired Point To Point
- Linear Regulated Power Circuits
- Germanium Components
- Rotary Capacitance
- Diode Clipping Selectors
- Boost/Gain switching Fuzz Driver
- Durable Powder Coated Finish
- Solid Metal Chassis.
Overview:
The Bock Effects Unholy Trinity is a point to point, hand wired dual valve Overdrive/Fuzz Driver. Hand crafted in sunny Australia. The Unholy Trinity was created as a unique alternative to both modern and classic Overdrive stomp boxes. Whether you are a blues, rock, punk or metal musician the UTS808 can be used with guitar, bass, synth, vox or any input signal you desire.
Capable of producing a countless variation of tones from a rockabilly twang to a huge wall of blinding aggression, these pedals are the benchmark for the greatest variety of sounds as individual playing through one. The Unholy Trinity UTS808 options will lead you to an almost infinite variety of sound variances. Input capacitance, diode clipping and multiple drive circuits will have you dialing in your tone to the last micrometer of perfection.
The Overdrive and Fuzz effects themselves are traditionally a soft clipping gain staged process that provides extra grit, warmth, sustain and harmonic saturation to your guitar tone. The Bock Effects Unholy Trinity UTS808 is the creation of a true valve hybrid
dual Overdrive/Fuzz Driver with a unique style, functionality, tone and scope. These are some of the words best describing Bock Effects units. Each pedal is hand crafted in a labour of love, point to point soul in a box.
History Of The Fuzz, Overdrive, Distortion:
In the 1940's overdriving a guitar signal became a 'happy side effect' of accidental damage to an amplifier and or speaker cone. This quickly became a desirable sound and many individuals and groups experimented with different ways to achieve this sound.
In the 1960's the Fuzz Overdrive was discovered to due a faulty preamp and quickly gained widespread popularity as many bands began trying to use and mimick this unique guitar tone. In the mid 60's Jim Marshall began modifying the electronic circuitry of his amplifiers so as to achieve a "brighter, louder" sound and fuller distortion capabilities. Marshal Amplification forged what would eventually become the Heavy Metal sound through a combined use of high volumes and heavy distortion.
Technically an Overdrive and Distortion are used interchangeably but over time the Overdrive has come to be known as a less agressive form of distortion that assists to accentuate your picking clarity, signal warmth and harmonic overtones. Fuzz and distortion are heavily clipped signals that begin to add so much saturation the clarity of the signal becomes 'fuzzy'.
Quite often in modern music Overdrives are carefully selected, and stacked inline with other Overdrives, Clean boosts or distortion units to act as boosts for one another and allow for greater control over the saturation in your tone.
Valve Overdrives units like the Bock Effects Unholy Trinity UTS808 perform most effectively on clean, high wattage amplifiers with plenty of headroom. The World Eater has been designed to excess with a super high gain circuit capable of boosting even the most lacking of amplifiers. It is highly recommended to start with very low settings and work your way up!
Valve Overdrive has become legendary because of its association with David Gilmour, who has used two of them on his board since the early 1990's. Specifically with Gilmours work on Pink Floyd's Division Bell. Other players such as Eric Johnson, Joe Satriani, and Billy Gibbons have also done their part to canonize the Valve Overdrives huge, dynamic tone capabilities.
"I only use one pedal live , it's all I need" Trintin Bock.
(Pictured below with negative tip)
