At the bottom of the FEATURES tab on each product page you'll find a Specification section. This shows the power supply requirements for that specific model.


Our original series of large format compressors feature switchable true-bypass and buffered-bypass modes utilising a three pole mechanical switch in the signal path.

In the case of the compact series of pedals, we’ve opted to go with a fixed buffered bypass scheme. This guarantees transparent signal transfer, correct pickup loading, reliability and noiseless switching.

True bypass relies on the use of more complex mechanical switches and/or relays which all generate small amounts of switching noise. Our pedals (particularly the SlideRIG) apply extreme amounts of gain and this tends to accentuate even the slightest of noise sources. In an effort to get ever closer to perfection we’ve chosen to opt for a switching system that places the switch outside of the signal path.

True-bypass is great when you want to be sure that a pedal is not colouring your tone when switched off. However, plugging your guitar into long cables and/or chains of true-bypass style pedals will result in some high frequency loss due to the inductance and capacitance of cable and wiring. Cheap patch leads are particularly bad in this respect. Buffered-bypass schemes will effectively drive the signal down your cables to maintain a full and natural frequency response.

If you require true bypass from a compact pedal, an external looper can be used.


We are unable to offer custom modification for our products.



In essence, the Cali76 Stacked Edition is the missing link between the Cali76 and SlideRIG ranges. A brand-new control – the gold ‘Thru’ knob – determines how much signal is fed from the first compressor to the second. Incredibly simple to use, this control allows the Stacked Edition to deliver not only single-stage Cali76 and dual-stage SlideRIG sounds but also everything in between.

Independent LED VU meters let you see exactly how hard each stage is working, while each of the compression stages features its own combined Attack/Release control. With the Cali76 Stacked Edition, you can combine two distinct flavours of compression – one to add sustain and fullness and the other to subtly limit any stray peaks, for example – or max out both stages for a super-sensitive, ultra-sustaining “clean overdrive” effect.

When adjusting the controls on the SlideRIG, parameters of both stages are adjusted simultaneously, for example, adjusting the ATT/REL will change both stages to the same times. The Cali76 Stacked Edition allows these parameters to be set independently from one another, for example, the ATT/REL for the first stage can be set fast/slow and the second stage can be set slow/fast.


The frequencies filtered out of the sidechain are 20Hz (most filtered) to 350Hz (least filtered). Turning the HPF control clockwise reduces the amount of these frequencies that trigger the compressor, making them relatively louder than frequencies above 350Hz.

The HPF is most dramatic on bass instruments such as electric and acoustic bass, piano and upright (double) bass, but can really help add punch and clarity to drop-tuned electric guitar.


Percussive Compression for Soloing into a Clean Amp (like a Fender Twin Reverb).

The initial transient of each note should leap out of the amp, especially when playing staccato runs of notes! I love the Allman Brothers and this setting really enhances the chimey tone of my SG when I play those Dickey Betts lines!

Input: 3 o’clock with humbuckers, fully cranked with single coils;
Output: to taste, without over-driving the input of the amp;
Attack: Fully Counter-Clockwise
Release: Fully clockwise
Release 4:1 – Fully Counter-Clockwise
“TX” Rear Panel Switches: in downwards positions.


A FET compressor is a powerful form of compression, due to the fact that it can respond so quickly. However, this isn’t always a good thing and when used with guitar it’s very easy to select settings that result in audible distortion artifacts.

When compressing you’re essentially attacking the waveform, and so you must be careful not to gouge out large chunks! Dialing in high levels of Ratio, along with very fast Attack and Release settings WILL result in distortion. These distortion artifacts will get more audible on lower strings, and when playing complex “jazzy” chords. For this reasons it’s often best to offset particularly strong settings on one of the Attack, Release, or Ratio controls, by dialing in less extreme settings on the other two knobs.


Simon Keats (designer): “There’s a lot of confusion when it comes to using attack and release controls with guitar. Having happily typed a short novel to a customer (I’m ALWAYS happy to help) I thought I would share the knowledge…

“The release control cannot be used to increase sustain, but it can do good stuff…

“Fundamentally, a compressor will reduce the level of a loud signal, whilst in the case of the Cali76 & SlideRIG, also applying a degree of boost to quieter signals. When the compressor applies “gain-reduction” the loud signal is made to be quieter. Once the loud signal has been safely seen off the compressor will relax and return back to its normal state. The release control governs how quickly the compressor returns back to its normal state i.e. back to applying a degree of boost.

“A very fast release means that the compressor will react quickly and fully recover between all notes. Imagine a scale of loud staccato notes. With a fast release, the compressor will reduce the level of each note in an identical way, whilst fully recovering in time to address the next note in the sequence. The compressor will, therefore, balance out the level of each note against its neighbour! More than likely, you will hear the compressor quickly pump as the gain is modulated. Also, with a slow attack, the compressor will impart a satisfying percussive thud on each note!

“A slow release will mean that the compressor can’t return to its normal state before the next note is played. This means that in a scale of notes the dynamic relationship between adjacent notes is pretty much preserved. There is no “pumping” effect. In fact, everything sounds pretty natural! Note to shops: this is a crap setting to dial in when trying to demo an “exciting & impressive” compressor pedal! Though not as exciting, this type of setting is highly useful for ironing-out level differences between passages of playing, for example for balancing single notes lines against more energetic rhythm playing!”


Origin Effects compressor pedals are designed to be quiet and hum-free, however, the nature of a compressor is that it will amplify any quiet signal entering it. If noise or hum is entering your signal chain before the compressor it will become louder when leaving the compressor circuit.

Best practice is to place a compressor pedal before any devices which could be adding hiss, hum, or noise. Likely culprits are distortion-based effects such as overdrive, fuzz and distortion pedals.

Hum picked up by singlecoil pickups will also be amplified by a compressor pedal. Try your pedal straight into an amplifier with a humbucker-loaded guitar to see if the noise disappears.

All of our Cali76 pedals will distort when certain settings are combined – this is because each control has a broad range which makes the Cali76 useable with a variety of instruments (guitars, drums, vocals etc). The distortion can be described as a crackly, crunchy effect which can increase as the note fades out.

Setting the RATIO, ATTACK, and RELEASE controls near maximum will certainly produce distortion with electric guitar, especially on lower strings.

Try these settings to see if the distortion disappears:

RATIO          Minimum

ATTACK       Minimum

RELEASE     Minimum

OUTPUT      2 o’clock

INPUT          12 o’clock

This will occur when the unit is powered from a supply providing voltage between 9V and 18V. The relays inside the TX and TX-L models will switch at around 11V kicking in the transformer circuit; the relays can rapidly switch on and off if supplied with a voltage close to this.

Supplying the unit with less than 10V and more than 13V will ensure no relay flutterin

In designing the Compact Series pedals, Origin Effects has gone to painstaking lengths to preserve the build quality and sonic integrity of the original Cali76 and SlideRIG circuits, even improving on them where possible.

The reduction in size has been achieved by using a mixture of traditional through-hole and SMD components, spread across a pair of densely populated, stacked boards. The signal path utilises film and tantalum capacitors, carefully chosen low-noise transistors and rugged MELF resistors (essentially traditional through-hole resistors without the leads), which offer low-noise performance and rock-solid reliability.

One of the reasons why the original Origin pedals sound so good is that they deliver true FET compression, with a fast yet highly musical response that is a world away from the brutal and unforgiving sound of traditional VCA compressor pedal designs. The new Compact Series pedals stay true to Origin’s design philosophy with absolutely no opamps or VCAs used in the signal path.

The new pedals are powered by mains adapter only. Dispensing with the usual internal 9V battery option allows more space inside the enclosure for high-quality circuitry, while also supporting the high-current circuit design that is the key to these pedals’ astonishingly low noise levels.


The Noble Amplifier Company Preamp will only power the Cali76-TX in standard mode. Use one of the 9V outlets to power your Cali76-TX if using this preamp.

The transformer circuitry is switched in by relays when provided with 14.6V. If the -TX has powered up with the transformer engaged then dropping the voltage below 12.6V will switch out the transformer circuitry; the Cali76-TX will then perform like a Cali76 Standard.

We do not recommend using a supply of 12V – 15V as possible variation in regulation of mains voltage could cause the transformer stage to switch in and out of operation. 18V is recommended for best results when using the transformer output stage.

UPDATE: Noble Amplifier Company now offers an optional 18V boost cable to power the Cali76-TX at 18V directly from the Noble preamp. When using this cable the transformer will be engaged.


The easiest way to tell is by the serial number: pedals fitted with a Lundahl transformer have a letter “L” at the end of the serial number.

The hard way is to remove the pedal’s base and look for the transformer. If it’s black then it’s our own “Iron-core” TX and if it has a silver transformer cover that has Lundahl’s logo on it then, you guessed it, you have a TX-L.


We currently have no plans to reintroduce the TX-P or G-P Cali76 models in the foreseeable future. These models required expensive and difficult to source components, as well as a huge amount of man-hours to assemble, so sadly, didn’t prove to be cost-effective for us to keep producing.

Our highly sought after discontinued models do show up on eBay,, Craigslists etc, from time to time, so keep an eye out for a piece of Origin Effects history!



The RevivalDRIVE Hot Rod features more gain, a tweaked preamp stage and we’ve also changed the bright cap values. These changes were inspired by modified amplifiers of the 1970s, providing a slightly darker tone with a lot more gain.


The RevivalDRIVE Hot Rod is capable of recreating a variety of British and American hot-rodded amp tones. Please refer to the Getting Started Guide for example settings including a Randall Smith modified Princeton, a hot rodded Plexi, a Trainwreck style tone and a fully cranked Orange on-the-edge-of-explosion!


The RevivalDRIVE Hot Rod is voiced with a more aggressive upper-midrange voice, suited to heavier sounds. The PREAMP and BRIGHT-CAP switch have been tweaked for the Hot Rod Edition.

Setting the RevivalDRIVE Hot Rod’s VOLUME control to 2 o’clock provides a similar amount of overdrive as a fully cranked RevivalDRIVE.


Our switcher interface box lets you connect to two ports on your ES5 (EXT CTL1/2 AND EXT CTL 3/4) and gives you control over the following four parameters:

  • Bypass
  • Channel Select
  • Mid Boost
  • Blend Override

The EXT CTL outputs on the ES5 use TRS connectors, so each plug controls two parameters. Our switcher interface box converts to our level sensing format which connects over a single TRS cable to the RevivalDRIVE.

Not all players need to control all four parameters remotely, and many are happy to use the local footswitches on the pedal, so we offer a special Remote Switcher Cable that gives you control over TWO parameters:

  • Mid Boost
  • Blend Override

The special cable is needed for compatibility with our level sensing format. It has two resistors built into it – details on how to build your own can be found here:

Another option that many users like is our dedicated Revival Footswitch, which lets you control Mid Boost and Blend Override. This is the normally the easiest way to add footswitches for these functions, but unfortunately doesn’t connect to remote switching systems.

The Revival Footswitch is built to work with our level sensing circuitry, and can be connected using any off-the-shelf TRS cable.


The rectifier stage in the RevivalDRIVE Compact is set to sound and feel somewhere between a silicon rectifier and a GZ34 valve rectifier.


In order to condense the circuit design of the original RevivalDRIVE to fit everything in a compact-style enclosure, we have had to leave out certain features. The circuitry which reproduced the mains power supply took up a lot of real estate, so we made the decision to not include and ghosting features on the RevivalDRIVE Compact.


With the original RevivalDRIVE we kept the aesthetics true to the non-master volume amps that the pedal was inspired by, labelling the gain adjustment knobs VOLUME. However, we have now renamed the volume control to ‘Gain’ to be more in keeping with modern amps and overdrive pedals.

More Gain = More Overdrive!


The POST-DRIVE EQ is very similar to the RE-AMP EQ on the original RevivalDRIVE. A three-way toggle switch tailors the output of the pedal to suit your amplifier, whether it is voiced bright, dark or flat.

The RevivalDRIVE Compact has a simple set of controls to quickly set the pedal to your amp. The RevivalDRIVE Standard offers further adjustment with a control to counteract the effects of an amp’s bright-cap, and the RevivalDRIVE CUSTOM offers an extensive range of controls which can be used to translate the vast range of amp tones in the pedal to even the most obscure amps.


We have included the ADJ control from the RevivalDRIVE Custom EQ Panel. This is a continuously adjustable filter that allows you to tweak the output of the pedal to fit your clean amplifier with ease.


The RevivalDRIVE Compact features a new interactive blend control. When you dial back the blend knob, the overdrive signal will clean up. The RevivalDRIVE Compact does have a high output gain and can be used as a boost to push your existing valve amplifier.


This time we have tweaked the range of the output control so that when the output is set all the way down, no signal will pass from the output stage of the pedal.


The RevivalDRIVE Compact does not feature a switchable preamp shape as original RevivalDRIVE does. In its place we have included a Highs control that provides continuous adjustment through a range of classic Fender and Marshall-style preamp voicings, progressively increasing mid-range and highs.


If solely the mid engage and blend override functions are required to be switched remotely, then our Remote Switcher Cable be used without the need for the Switcher Interface. The 4k7 ohm resistors inside this cable allow the switch to be partially closed which is enough for just the mid engage and dry override to be toggled. 

Connect the Remote Switcher Cable from a control switch jack on the controller to the RevivalDRIVE’s F/SWITCH connection. 

PLEASE NOTE: remote switching of the bypass state and active channel can only be achieved with the Switcher Interface.

RevivalDRIVE remote switcher cable TRS cable drawing angled



You can use an external momentary switch to control the tremolo speed. Options include the Boss FS-5U or MXR M199 Tap Tempo switches.

You can also remotely toggle the tremolo function on and off via an external latching switch. This function requires using a TRS ¼” jack cable. The tremolo function is on when the ring is connected to the sleeve.


It is possible to achieve cleaner tones by keeping the DRIVE control at low settings and compensating for volume using the output control. Note that the tremolo effect becomes more interactive with higher DRIVE settings, making the tremolo effect less intense when picking harder.


The MULTI switch multiplies the speed of the tremolo effect by x1, x2 and x3.

The switch can provide 3 different ranges on the SPEED control or it can be used to change how the tapped tempo relates to the tremolo speed.

When a tap tempo footswitch is used, the tremolo speed can be set to be the same as, double or triple the tapped-in tempo.


The SHAPE switch offers the choice of a smooth sine wave and a pulsating full-wave shape. The sine wave is modelled on the classic brownface-style tremolo whereas the full-wave setting delivers a more intense tremolo effect.



Analogue Amp Recreation is the name that we give to our pedals which completely recreate the behaviour of classic valve amps, using all analogue circuitry. We believe the best way to recreate an amp’s tone in a pedal is to recreate the amp’s signal path in miniature. Using transistor-based circuitry, we build a class A preamp, push-pull output stage and reactive load, just like in a real amp. This allows us to capture all the nuances of valve amp tone, while keeping that feeling of connection that is only possible with analogue gear.


It depends on what kind of bass tone you like. The BASSRIG Super Vintage is based on the Ampeg® SVT® and 8x10 cab, which can be considered the “benchmark” modern bass tone. The versatile tone stack and wide gain range offer everything from funk and neo soul cleans to fierce rock and metal distortion, with a signature sound that’s somehow at home in any genre.

The BASSRIG ’64 Black Panel has a real vintage flavour. Based on high-powered Fender® amps and 2x15 cabs from the 1960s, this pedal covers warm soul and blues tones as well as the gritter, more percussive sounds of beat pop and R&B. A classic-but-versatile pedal for the purists.


Back in the ‘60s, before modern bass amps as we know them, bassists would have used a number of different Fender® amps – favoured for their loud, clean tone. We picked two of the best: the Showman® and Bassman®. These were both popular among bassists and are tonally similar, with an important difference. The Showman’s circuit progressively removes low end as it begins to distort, keeping things tight and controlled. The Bassman® does the opposite – retains low end which becomes looser and more unruly as the gain increases. This is controlled by the BASSRIG ’64 Black Panel’s BRIGHT/FAT switch. The BLK/TWD switch changes from a ‘60s circuit to a ‘50s “Tweed” spec, altering the tone stack and negative feedback for more gain and mids.


They’re both! The BASSRIG pedals are full-featured preamps which offer the full spectrum of vintage valve bass amp tones, but they can be used as drive pedals with a traditional amp too. The AMP OUT EQ allows the BASSRIG pedals to be used as an overdrive pedal with any amp, either to compliment or contrast your core tone. Alternatively, use the BASSRIG as an “always on” preamp, either with an amp or direct to the PA with the cabinet simulated DI OUT.


The BASSRIG requires a 9VDC centre negative 2.1mm power adaptor (minimum 150mA). Voltage is boosted internally for high headroom.

No. The BassRIG does not need phantom power but it will not be harmed if 48V phantom power is applied to the DI OUT.

Yes! Both BASSRIG pedals recreate the whole circuit of the amps they’re based on, plus an analogue simulation of a vintage bass cab. They can produce the entire range of sounds you’d expect from a vintage amp and can be run straight into a traditional amp, FX loop return, flat power amp or as the “amp sound” in a direct-to-PA rig.

Yes. Because the BASSRIG pedals recreate the behaviour of classic valve amps, they will take pedals just like a real amp. Their voltage is boosted internally for massive headroom, so expect great results with drive, fuzz, compressor, boost and anything else you want to throw at them.

Yes. Connecting the DI OUT to the input of your interface will give you the tone of a vintage amp and a mic’d cab straight to your DAW, no extra processing needed. Use the AMP OUT if you want to add your own cabinet simulation.

The AMP OUT EQ is our proprietary filter, applied to the ¼” output of the BASSRIG. Its function is to ensure compatibility with any bass amp, meaning you never have to compromise your clean tone in search of the perfect overdriven tone. There are many kinds of bass amp, from small combos to vintage stacks to modern, hi-fi setups – and the dreaded house backline! The HORN CUT switch applies a choice of steep low-pass filters to guarantee a smooth overdrive tone when using tweeter-equipped cabs. The LF control can reduce boominess in large cabs or fatten up small combos, while the HF control fine-tunes the upper mid and treble response, compensating for your clean tone’s EQ settings and accommodating different speaker types.

Yes. This allows you to run an amp on stage for monitoring, while sending a cabinet simulated output to the PA. When connecting both outputs, you may experience a hum caused by a ground loop. If a ground loop is present, set the DI GROUND switch to LIFT. When only using the DI OUT, this switch should be set to GND.

The DI CAB SIM switch lets you select if the cab sim is always on, or only active when the pedal is engaged. Set to “FX+BYP” to access the BASSRIG’s cab sim, for use with other drives or preamps. When set to “FX”, the BASSRIG doubles up as a completely clean, studio-quality DI when bypassed. There is no cab sim applied to the AMP OUT.


The ADAPT switch activates the adaptive circuitry in the Halcyon Green Overdrive, which reduces its mid-forward voicing as the pedal cleans up (either as a result of playing dynamics or rolling back the volume knob). This means that not only does the tone get cleaner, it becomes more “full-range” the cleaner it gets. Once the pedal is fully clean, your tone is almost identical to having the pedal bypassed. There’s a wide range of tones available, all the way from a full-bodied clean tone to a very mid-focused lead sound, all accessible with playing dynamics and volume knob changes.


The Halcyon Green Overdrive is inspired by the Ibanez® TS808 Tube Screamer®. Like most traditional overdrive pedals, it exaggerates the midrange frequencies in your guitar signal. By removing some bass and treble, then amplifying what’s left, traditional drives push that important midrange content to the front of the mix, allowing your guitar to cut through for a solo, whilst preventing “flubby” low-end and high-pitched feedback from all that extra gain.


In the days before overdrive pedals or channel-switching amps, the only way to get from clean to overdriven was to crank your amp until it distorted, then turn your guitar volume down when you needed to clean up. Doing this reduces the signal level going to the amp, allowing it to drop below the level at which it begins to distort. Turn the guitar back up and you’re back into overdrive! The principle is the same whether your overdrive is coming from an amp or pedals, and many players still love the infinite shades of drive that this approach offers. Typically, overdrive pedals are less able to do this well. The ADAPT switch on the Halcyon Green Overdrive ensures that this gradual transition from clean to drive happens much more naturally.


In an original TS808 Tube Screamer®, there is some unaffected “dry” signal blended in with the drive signal. This helps to maintain clarity and definition when boosting an overdriven amp. The Halcyon Green Overdrive gives you control over the level of that dry signal. Turning the DRY control above noon increases this dry signal, which can emphasise pick attack and add some punch in the low end.

ADAPT settings I and II allow higher DRIVE settings on the Halcyon Green Overdrive to sound more natural than a typical overdrive pedal when used with a clean amp. Turning the DRY control fully counterclockwise gives you just the overdriven tone, without any clean peaks that can jump out of the mix.


The VOICE switch on the Halcyon Green Overdrive selects between two different “mid humps”. The 808 setting is the stock voicing of the TS808 Tube Screamer®, warm in character and boosting across a relatively wide range of mid frequencies. This setting works particularly well for fattening up single coil pickups for a thick blues lead tone.

The MOD setting moves the mid hump slightly further up the frequency range, with a more focused peak. This setting is well suited to humbuckers, especially the neck position, adding some “bite” without too much extra warmth. The MOD setting is also useful from Metal players boosting high-gain amps, as it adds an aggressive edge to the tone.

The Halcyon Green Overdrive can definitely be classed as a traditional drive pedal. As such, it can be placed in the “traditional” place in a pedalboard signal chain – after fuzz, wah and compression but before modulation, delay, reverb and “amp in a box” type pedals. Because of its adaptive circuitry, the Halcyon Green Overdrive makes a very capable “always on pedal”, meaning it works well nearer the start of the chain. Of course, there is no such thing as right or wrong when it comes to this stuff, so experiment and trust your ears!

As a TS808-inspired pedal, the Halcyon Green Overdrive excels when running into an amp either on the edge of breakup or slightly overdriven. The mid-forward voicing, low gain drive tone and a touch of clean signal help push an amp into a thick, overdriven lead tone that cuts through the mix nicely. However, the more natural drive tones accessed via the ADAPT switch mean this pedal can also work very well as a standalone overdrive, when run into a completely clean amp.


Pultec® is a brand of studio EQ from the 1950s. They use a passive EQ circuit which is very different from most modern EQs. They are defined by their broad, musical EQ curves and also by their ability to provide subtle saturation and colouration from their push-pull valve output stages. The M-EQ Driver captures not only the mid-boosting capabilities of a Pultec® EQ but also the overdrive characteristics, with enough range to work in place of a traditional guitar overdrive pedal.


The CUT control recreates the high frequency attenuation band of a Pultec® EQ. Put simply, turning the CUT control clockwise removes top end from your signal. Engaging our Adaptive Circuitry reduces the effect of the CUT control as the pedal cleans up from playing dynamics or volume knob changes. This means that, as you clean up, the Adaptive Circuitry restores all the treble that the CUT control was removing. This means you can morph from a dark overdriven tone to a bright clean sound just by turning down your guitar’s volume control or playing softly.


The M-EQ Driver is equally capable of boosting and overdriven amp or providing an overdriven tone in its own right. Generally speaking, cleaner settings on the M-EQ Driver will work better with more overdriven amps and vice versa. But there are no rules so feel free to experiment!


The M-EQ Driver creates its overdrive by overdriving its push-pull output stage. Although it is based on a studio EQ, this sounds quite similar to power amp overdrive in a vintage valve amp. The difference is in how much midrange content a Pultec EQ can push into that output stage. Pushing more mids into the M-EQ Driver’s output stage creates more overdrive at the chosen frequency, resulting in thick and focused tones that have their own unique character.


While there is never a truly definitive answer to this question, the M-EQ Driver will work best as part of your overdrive and boost chain, placed before your amp or any “amp in a box” type drive pedals. It can boost an amp or amp-style pedal very well, so try experimenting with placement amongst, or in place of, your other traditional overdrive pedals.

It’s both! When set clean, the M-EQ Driver can provide a prominent but musical boost in the midrange, helping to push your amp into overdrive and out of the mix. When overdriving the M-EQ Driver, you can either keep the MIDS low and enjoy an amp-like, natural drive tone, or push more mids into the push-pull output stage and create some really resonant, howling overdrive tones.

The M-EQ Driver is designed to be used like a traditional overdrive or boost placed in front of the amp, rather than a surgical EQ that you might use in the FX loop. Because of the M-EQ Driver’s ability to overdrive itself, it may be difficult to keep it completely clean when driving it from an amp’s preamp. It works better to add character or colouration nearer the start of your signal chain.


The UA 610 is a classic studio preamp, which the DCX BOOST is based on. The 610 is famous for adding analogue warmth to a signal, as well as some basic but very usable EQ. When driven hard, this type of retro preamp can produce saturated overdriven tones with a character quite different to typical overdrive pedals. The DCX BOOST combines all these desirable attributes, optimises the EQ frequencies for electric guitar and adds our own Adaptive Circuitry for extra flexibility.


It’s all of them! Depending on how you set it, the DCX BOOST can function as a clean boost, pushing the front end of an amp or other pedals, or as an overdrive in its own right. It can even be used straight into a recording interface for those “direct to console” tones. In EQ mode, with the DRIVE control set low and the LEVEL control set high, the DCX BOOST works as a clean boost, with some tone-shaping available from the L.F. and H.F. knobs. Higher DRIVE settings in EQ mode will elicit mild overdrive, while OD mode offers more overdriven and highly saturated sounds.


The DCX BOOST and DCX BASS are similar pedals, one optimised for guitar, one optimised for bass. The DCX BASS’s H.F. controls works at a significantly higher frequency than that of the DCX BOOST, boosting important parts of a bass guitar signal without getting in the way of guitar, vocals or other mid-focused instruments.


The DCX BOOST works very well into either clean or dirty amps. Because the DCX BOOST has such a range of sounds available, it is equally at home subtly sculpting clean tones, boosting an overdriven amp, providing an overdrive tone for use with a clean amp or even adding a super-saturated sound for use with an already driven amp. It can even run straight into your recording interface or mixer. It’s a very versatile pedal.


The DCX BOOST works best near the beginning of the chain, before your other overdrives. It can be very effective at boosting the front end of other pedals or making tonal tweaks before other drive pedals. Because of the DCX BOOST’s ability to overdrive, it will not work as well as a clean solo boost near the end of the chain or in the FX Loop of an amp.

Adaptive Circuitry is our proprietary technology which allows our analogue circuits to adjust tonal parameters in real-time, in response to player input. Put simply, the DCX BOOST in EQ mode rolls of more treble the more you push it into overdrive. This means that you can dial in warm overdriven tones, then move seamlessly to a brighter clean tone by rolling back the guitar volume or playing softly.

The L.F. and H.F. control have been designed to have a completely flat response in the 12 o’clock position, as well as to allow cutting and boosting without any adverse effects on overdriven tones. Typically, overdrive pedals rely on some bass and treble roll-off to maintain clarity when distorted, giving them an inherent “voicing” that can’t be dialled out. In the DCX BOOST, you can crank the L.F. and H.F. controls with an overdriven sound, without the tone becoming mushy or indistinct in the low end or overemphasising upper harmonics. This results in studio-quality tone-shaping with both clean and overdriven tones.

Yes! The DCX BOOST has plenty input headroom, so it can deal with signals from keyboards, mixer inserts, aux sends and other sources. At Origin Effects, we have a background in designing high-end pro audio gear and want our studio inspired pedals to work just like great studio gear. Feel free to try the DCX BOOST on vocals, drums, horns, cowbell…

The two pedals are quite closely related, with the biggest difference being the H.F. control frequency, which is significantly higher on the DCX BASS. Because the response is completely flat with this control in the 12:00 position, the difference between the pedals will be more obvious the more you cut or boost the H.F. With more subtle settings, either pedal should work very well for both instruments. The short answer: whichever is your primary instrument, that’s the pedal you should buy.

This is not the intended use for the DCX BOOST. Because the DCX BOOST recreates the overdrive capabilities of the UA610, it may struggle to stay clean with the higher signal levels expected in an amp’s FX loop. In this case, a very clean pedal is usually desirable and the DCX BOOST may begin to drive a little too easily. It won’t break, but expect a little colouration.