RPA Special Booster
The RPA box (Ritchie’s Pre Amp) emulates Ritchie’s AIWA reel-to-reel tape recorder preamp stage plus a high-pass function, to get Ritchie’s post ´74 sound with any standard amp.
RPA Major Special Booster
Pure gain and a hard, agressive Blackmore lead-sound with all classical amps with master volume. The booster represents the high-gain sound of Blackmore's agressive mid/end 70"s live sound, tweaked to match the modern taste of todays world.
RPA California Special Booster
The RPA-California was created especially to achieve Ritchie’s DP Mk3 sound. With its “Bite” control you can dial between the raw and fat “California Jam” sound and “Live in London” sound with more piercing highs and tight bass.
RPA California II Special Booster
The "RPA California II" booster is the soul-mate of our California unit, complementing it with a different goal in mind. The new RPA California II now calls for the correct pickups. The California II makes use of the free space gained via a volume pot. This allowed for the opportunity to map Blackmore's tone even with small amps.
RPA Full Quarter Booster
The "RPA Full Quarter", developed for fat single coil pickups like the "Schecter F500", the OBL 450XL (or similar) double blade humbuckers that Ritchie Blackmore used in the 1980 and beginning of the 90s. The pedal ensures no muddy or dull sound with powerful pickups like these in the operation of conventional amps to achieve a dynamic transparent sound.
71/73 CM Treble Booster
The 71/73 CM booster is basically a recreation of Bill Hough's custom-made circuit, used by Blackmore 1971 until end 1973. With its "Bright" and "Mode" control, the unit is very versatile to get all sounds of Ritchie's DP Mk2 period.
RM Majestic Treble Booster
The RM Majestic is a special high-grade RM unit with highly selected NOS germanium transistors, to receive more gain, more headroom and more transparency with an unheard richness of details.
FireBall Treble Booster
The HS-Fireball is a special selected HS unit, which allows the hard and aggressive sound as heard on the Rainbow ‘Rising’ or ‘Down to Earth’ record or Ritchie’s late 1970s stage sound.
RMG Clean Boost
The RMG signature model is based on the original V*X Treble Booster and was modified to produce the clean “jingle jangle” sound of Roger McGuinn and the Byrds. With its almost unity gain, the RMG is the perfect booster for all clean, sparkling sounds (e.g. country), as well as for acoustic guitars.
RB Special Looper
The RB box is a pure passive looper with two special line transformers to acquire a high-level FX loop, recommended for Fireball, the RPA line, HS-C, HS-S, RM-Metal or other high output boosters. Combined with a delay stombox it’s a must-have for post '74 Blackmore high-gain delay sound.
The Spectrum fuzz-booster is based on the Sam Ash Fuzz, used by Tommy Bolin during his time with Deep Purple. As a nice addition the tone control was expanded up to almost 6 octaves.
FuzzBender Fuzz Machine
The Fuzz Bender model is a fine handmade germanium loaded fuzz unit, which allows a switchover from Jimi Hendrix’ fat, fuzzy sounding FuzzFace (also used by Blackmore) sound to the more tight sounding V*X/Sola-Sound Tone Bender Mk1 style, used by Jeff Beck in early Yardbirds, Spencer Davis Group, The Who as well as Neil Young and many 60s bands.
J-Fuzz Fuzz Machine
The J-Fuzz is a faithful recreation of the well-known early 70’s Jennings Fuzz, equipped with the original silicon transistors from “Micro Electronics” (Japan) and polysterol caps. Gain till the sun rises, violin sustain and really sick tones with the guitar volume turned down.
Albuquerque Special Booster
The Albuquerque is a signature sound pedal to achieve Mick Ralphs' fat Les Paul with Marshall 1976 overdrive live-sound in Bad Company. No control other than just a slope switch to reduce the bass if it’s too much for your needs. A fat pedal with rich harmonics!
Studio & Live '75 Special Booster
The Studio&Live '75 was intended to emulate the sound of the 1975 ‘Ritchie Blackmore’s Rainbow’ album and Ritchie’s early 1975 Rainbow live sound. It was designed to get this sound from any stock “Bright” input found on classic Marshall amps. It also bases on the AIWA reel-to-reel Preamp and could be used clean or with crunchy preamp overload with a 3way switch. It also contains the right bass cut but could be switched off to get the full preamp frequency response.