Well in today's video I wanted to talk to you about this pedal here, called BOG from Deep Trip, which is a Brazilian company based in São Paulo and this pedal is a fuzz. Well, this is probably one of the best fuzz pedals I know and it's interesting because it's rooted in and old pedal, a very known pedal that we all know which is the Fuzz Face. Well, at that time in the 60's that kind of sound had been recently discovered and many people started to incorporate that type of fuzz effect in their guitar sounds and one of the people who did it more successfully and more vehemently and, how do I put it?
with a longer lasting legacy was Jimi Hendrix It's interesting, a long lasting legacy from a man whose career really lasted for about three years anyhow, that's the impact that man had that artist had on humanity. Well, I said this pedal is rooted in the Fuzz Face which is a pedal filled with peculiarities, filled with complicated design issues It's a relatively rudimentary design because those were the beginnings of effect pedal developments for guitar at least in a pedal format and it's not absurd to consider that a project that was conceived in the 60's would benefit from updates and improvements in the circuit. That's exactly the case with the BOG.
By the way, BOG is an acronym that comes from a Jimi Hendrix album called Band of Gypsys. Band Of Gypsys, BOG. And it's clear that the inspiration behind this pedal is the use Hendrix had for the Fuzz Face at that time.
Talking about circuit updates in this pedal we can tell it has more functions in the potentiometers than we usually find in the traditional Fuzz Face because it does not only have volume and fuzz which we find in the original but it also has a bias control. Bias is a control which interacts specifically with the resulting tone it's not a tone control but it's a control which impacts on your tone and it does so from limiting the amount of volts the pedal receives, that is it's kept from receiving the full 9v, by the way it's a 9v pedal, creating a more compressed sound, a sound with less sustain, which people call splatty fuzz, or spitty fuzz. Besides that, it has two controls which shape your tone in relation to your timber more specifically.
The control for brights/highs is the is the control for treble, or at least an eq band that deals with the treble predominantly the control for lows here, the bass. That's another characteristic that differs this pedal from the original Fuzz Face and makes it much more versatile because you manipulate your sound and have a tone variation which oscillates between a sonority more closely associated with silicon transistors and it reaches, it goes up to. .
. the sonority of germanium transistors that's at least the impression I have of this pedal. Specially when you use the controls here of lows and highs to shape your sound.
Because the germanium ones are know for having lows too low and a bit muffled not very defined and the highs are softened too and the silicon ones have a characteristic of being brighter and a bit more serrated something like that, a different granulation in the distortion and you can shift between those two types of sound although it's not the most authentic way of getting a germanium tone, but that's really immaterial and what really matters is the sound, right? it's interesting that it's a pedal that solves the problem that the Fuzz Face and pedals derived from the Fuzz Face have which is, it solves the impedance problem that you have when you put a fuzz pedal after another pedal or after another buffered pedal specially so you can place it anywhere in your chain which also makes it more versatile an extra versatility point to it Well, more about it, it's very well built and a proof that this pedal here is high quality is the fact that icons of modern guitar have used this pedal recurrently we can mention Josh Smith someone I have talked about many times in this channel and we can also mention Scott Holiday, from the Rival Sons who is also kind of an authority in tone especially with fuzz. Something interesting about its look is that it has this opening in the front an opening in the metal, and the LED light that indicates it is on isn't as in other pedals it's not.
. . on the top, it's an internal light so when you turn the pedal on, the internal LED expands through an acrylic piece which is in the front, under the case, and it lights up this whole opening and looks nice in pictures.
. . Another cool thing about this pedal is the fact that it's not a micro pedal, you can tell it's a big pedal and I don't know if it'd be really necessary that it was this big maybe they would be able to diminish it's size shrinking down the circuit inside developing a smaller circuit layout but I actually find it super cool that it's big because it's something we associate also with older pedals, older pedals were big and that thing with micro pedals, I don't know.
. . .
It's interesting that they're not going with the trend they're kind of going against it. I think it's something that demands a certain courage to go against the trends. I find it authentic.
Something I'd like to know is if you are bothered by large pedals if you only like small pedals I know the issue with space on the board is to be considered but I kind of have an affection with larger pedals even if they occupy more space on the board. The small ones kind of lack personality at least from a visual perspective. Do you think that's important?
Please, let me know. Well, that's all for today if you like reviews commentaries on music, guitar, equipment demos, that kind of stuff you could take a look at the previous videos in the channel, there's a lot of stuff here and if you like this type of content you could subscribe and activate the notification bell to get the video notifications that come out every week and if you have questions, comments, leave them below and we can chat on the comment box and I see you on video, ok? So that's it.
Bye!
