Input Impedance: 500kΩ or higher
Output Load Impedance: 10kΩ or higher
Controls: NOR LEVEL, DRV LEVEL, TONE, GAIN, PUSH, HI CUT, DRIVE, EQ ON/GLASS switch, ROCK/JAZZ switch, DC9V/Int.PS switching switch
Connectors: 1/4-inch standard phone jacks (input, output), DC9V input jack (AC adapter jack)
Power Supply: DC9V battery (9V type 006P), AC adapter
Current Consumption: DC9V 95mA *When turning on the power, a significant current flows, so please use a power supply that can deliver a current of 200mA or more.
Size 97(D) × 120(W) × 51(H)mm (including protrusions like footswitches and jacks)
- Equipped with a ROCK/JAZZ switch for toggling gain and frequency characteristics (Normal Channel).
- Features a "GLASS" switch to bypass the TONE circuit and achieve a glass-like sound (Normal Channel).
- Independent output level adjustments for Normal Channel and Drive Channel.
- Incorporates the HTS (Holistic Tonal Solution) circuit, which differs from traditional buffer circuits. It maximizes the sound characteristics of the guitar while performing impedance conversion, achieving a balance between "sound" and "low noise." The HTS circuit prevents sound quality degradation even when the effect is turned off. Additionally, the output signal is in phase with the input signal, eliminating concerns about phase inversion.
Background of Development:
FREE THE TONE's founder and designer, Yuki Hayashi, amassed over 20 years of experience in maintaining and repairing DUMBLE amplifiers and was a proud owner of multiple DUMBLE amps himself. DUMBLE amplifiers are known for their distinctive harmonics, which can make even clean sounds seem slightly distorted. Furthermore, the drive sound of a DUMBLE amp responds to a guitarist's playing as if the amplifier itself possesses intention. It was this desire to capture this unique feel and translate it into a pedal-sized overdrive pedal that sparked the development process.
The DUMBLE amplifier has been a beloved choice for numerous renowned guitarists such as Larry Carlton, Robben Ford, Eric Johnson, Stevie Ray Vaughan, and John Mayer. They have been captivated by its exceptional sensitivity to the signal level from the guitar and the distinctive, thick, and rich harmonics that are unique to DUMBLE amplifiers. Through an American guitar tech intermediary, I've had several exchanges with Mr. DUMBLE himself. He inquired about my primary guitar and the type of music I mainly played when crafting an amp, emphasizing that he used the guitarist's main instrument to fine-tune each amp. It truly showcases the craftsmanship of DUMBLE.
For the development of OVERDRIVELAND, I drew inspiration from the later model of the OVERDRIVE SPECIAL. In this model, the 'OVERDRIVE SPECIAL' label features digital-style characters. I find this model to be the most fitting for contemporary music, offering a robust rock-oriented sound.
In order to imbue pedal-style overdrive with DUMBLE amplifier-like characteristics, I translated various ideas into circuitry and conducted numerous experiments. For the fundamental circuit (the NORMAL channel of OVERDRIVELAND), I decided not to use clipping diodes or LEDs. The reason for this choice was that using clipping diodes or LEDs made it challenging to achieve the intended harmonic components.
When I increase the 'GAIN' on the NORMAL channel, the sound gradually starts to distort. However, even if I lower the 'GAIN' knob below the 12 o'clock position, I can still sense the presence of rich harmonic components within the clean sound. This is what allows OVERDRIVELAND's harmonics to be the secret to enjoying clean sounds while playing
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