
Admission to the Klon ballpark at a bargain price.
A ticket to the Klon show for an unbeatable price. Easy to plug in, dial up, and play.
The fat boost is more necessity than option. Narrower dirt and volume range than pricier competitors.
$69
TC Electronic Zeus Drive
tcelectronic.com
There's no shortage of lower-priced pedals vying to match the overdrive characteristics of the Klon Centaur. That's no surprise. When Klon founder Bill Finnegan started building his legendary stomps again in 2019, his first new 3-knob wonder auctioned for more than $2,000, and used first-generation Centaurs now fetch $5,000 or more. That's pretty exalted. But pedals like the J. Rockett Archer and the Wampler Tumnus allow us less affluent folks a taste of this sacred dirt for under $200. (For more, see Joe Gore's "Klon vs. Klone: 5 Affordable Stomps Go Head to Head with a Gold Original" in the April 2020 issue of PG.)
Golden God
At just $69, the TC Electronic Zeus Drive is an audacious new competitor. It's got the classic 3-knob Klon/clone array of drive (or gain, on the original), treble, and volume (output on the Centaur), augmented by a fat boost toggle to thicken up the low mids. The Zeus is small and appealingly designed, with ÂĽ" in/out jacks and its 9V DC barrel-style input (no battery option) mounted on the crown of its sturdy, golden 2.2" x 2.2" x 3.9" metal enclosure. The knobs are solid, well-spaced for quick adjustments, and the circuit is switchable from true bypass to buffered, thanks to an internal DIP switch.
Clip #1 — TC Zeus Drive vs. J. Rockett Archer (Medium Gain Chords)
1958 Les Paul Special with single-coils (all controls full up) into Carr Vincent (volume at 9 o'clock; 3-band EQ at noon, reverb at 11 o'clock, drive off, 7 watts setting). Sequence: no pedal, Archer, Zeus without fat boost, Zeus with fat boost, Archer.
Archer settings: volume just past 9 o'clock, treble at 2, gain at 2.
Zeus settings: volume at noon, treble at 1, drive at 2.
Clip #2 — TC Zeus Drive vs. J. Rockett Archer (Higher Gain Single Notes)
Same overall settings except Archer gain at 10 o'clock and Zeus drive just past 9.
Like the Klon, the Zeus' drive section is all analog and sports a pair of 1N34A germanium clipping diodes. TC's pedal also uses a charge pump to steps up the 9V DC and increase headroom and dynamic response. And there's one more trick—the dual-ganged pot optimized the balance between clean signal as you add dirt to preserve your tone's core character.
Clone Wars
While I don't own a Centaur, I've had an Archer on my pedalboard for years. So it seemed natural to A/B the Zeus with the Archer, paired with guitars bearing single-coil, P-90, and humbucking pickups, all plugged into a Carr Vincent with its three EQ knobs at noon, the drive off, and the volume and reverb at 10 o'clock. Like the Archer, the Zeus responded expressively to shifts from light to heavy attack for both single notes and chords, baring its teeth when I dug in. It also stayed articulate while adding dirt to all three flavors of pickups.
There's a nice range to the Zeus' gain and volume, although it's not as wide or darkly gritty as the Archer's. Its treble control— well, it does brighten up the pedal for times when you might need to really cut through in a mix or onstage, and it can lift a guitar with dialed-down tone pots to screaming highs as needed. But the pedal's inherently bright, transparent nature may also be a pitfall for some players. When I step on a stomp, I'm looking for a little more transformation—and in an overdrive, for me that typically includes a more sculpted, robust, mid-saturated tone along with an enhanced response to chord-hand nuances and dynamics.
"The Zeus responded expressively well to shifts from light to heavy attack for both single notes and chords, baring its teeth when I dug in."
Without the fat boost engaged, the Zeus' transparency was evident, but it could sound a bit thin, making the boost more a necessity than an option, to my ears. With the boost on, and minor adjustments to the treble and drive controls, I was able to get tones closely aligned with the more costly pedal. And that's saying something!
When I had the boost on and the Zeus dialed in to my liking, both low-gain (drive at 8 or 9 o'clock, volume at noon, and treble at 1) and high-gain settings (drive maxed, volume at 10, and treble at 2 or 3) had the vibe of natural amp breakup. Edging the drive to noon generated singing sustain, nudging my Carr ( running at just 7 watts), into old-school Marshall territory. At 35 watts, the distortion was downright pushy.
​The Verdict
Want to enter the Klon-tone ballpark at a bargain price? The Zeus Drive could be your ticket. It's easy to control and adjust on the fly, solid as a brick, and responsive to nuanced playing, even when it's cranked. And with the fat boost engaged, the Zeus' sound is as portly and bold as more expensive klones, and that's pretty sweet.
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“Sometimes, I’d like very much for my guitar to sound exactly like a supa cobra.”
Luthier Creston Lea tells us about his favorite dirt pedal—an Athens, Georgia-made stomp that lets his guitar be a hero.
Let’s face it: Nobody can tell what overdrive pedal you’re using. Whether you’re in a carpeted suburban basement accompanying the hired clown at your nephew’s fifth birthday party or standing on the spot-lit monitor at Wembley, not one person knows whether the pedal at your feet cost $17 or $700, has true bypass, or has an internal DIP switch. Nobody leaning against the barn-dance corncrib or staunching a nosebleed up in the stadium’s cheap seats is thinking, “Heavens yes!! THAT is the sound of a silicone diode!”
So, why buy another overdrive pedal? Or six more? Are they different? (I’m asking myself.) Of course they’re different. (I’m telling myself.) A Turbo Rat is not aKlon. ATube Screamer is not a DS-1. Or is it? I can’t keep track. Why? Because it’s fun to see what the talented manufacturers of the world have to offer. And because any reader who picks up a guitar magazine for any reason other than to swat a fly is curious about what’s new and what other players are using to good effect. You can blow your savings on a guitar—I’d be happy to build you one—or an amp (or vacation or college or discount merlot or a regrettable whole-back tattoo), or you can spend $100 to $300 to satisfy your curiosity. Will anybody in the audience notice? Unlikely. Will you feel better for five minutes or the rest of your life? Maybe. Seems worth rolling the dice from time to time. Nobody gets hurt. And sometimes you’ll find a pedal that pulls something good out of your playing simply by responding to the way you play … which makes you play in new ways, etc., etc., in an infinite loop of delight. Or at least infinite till the next pedal comes along. It feels good. In a troubled and imperfect world, is it so wrong to feel good?
I bought my first overdrive pedal, a well-usedMXR Distortion+, for $25 in 1991. Surely, I could have stopped there. But many others have come and gone in the years since. Have I bought a pedal, sold it, bought it again, sold it again? More than once.
I’ve mostly, finally outgrown the desire for new pedals, but I’m not immune to the occasional itch. Sometimes a trusted brand introduces something I just haveto hear for myself. That’s particularly true in the case of smaller-scale builders whose ears I’ve learned to trust. I’m going to like everythingChris Benson of Benson Amps or Brian Mena of Menatone ever makes, for example, so why not hear it all? Sometimes it’s alluring copywriting that makes me reach for my wallet. Sometimes they just look cool.
Maybe in my case, I just can’t resist a name like Supa Cobra. Sometimes, I’d like very much for my guitar to sound exactly like a supa cobra. When Greer Amps first introduced their Supa Cobra six years ago—described as delivering “chewy medium gain overdrive to awesome crunchy grind!”—I was immediately intrigued.
Oh, how I love the Supa Cobra—a woefully underappreciated pedal now only available from Greer by special request. I’m sure there are smart players who have discovered the joys of its lower-gain settings, but for me it’s perfect for punching through sonic mud and letting my guitar be heard. It lets my guitar be a hero.
I like it best with its 3-way clipping switch set to the middle position, which, according to Greer, bypasses the other modes’ clipping diodes and lets the op amp’s natural drive come through. I can’t say I know exactly what that means, but I know it’s loud and clear and compressed in just the right way to let sustained notes really sing out in a natural, power amp-y manner.
The Supa Cobra’s greatest feature may be the body control that dials in low-end presence without adding any murk. At higher body settings, the notes push on my chest in a way that I find thrilling. I like it around 60 percent with the gain knob turned nearly full up. Perhaps excessive, but life is short. When it’s time to sound big, it’s the biggest-sounding pedal I’ve found. Lots of overtones, but not at the expense of clarity. It’s quick to jump into harmonic feedback at the gain-y settings I like best, but in a beautifully controlled way.
As a matter of fact, I think people do notice what overdrive pedal I’m using. Not that they know it’s a Supa Cobra, but it makes my guitar leap out in a way that so many other pedals have not. To borrow a word from Greer’s Lightspeed Organic Overdrive (also fantastic), it sounds organic. Or, very much unlike a wasp in a tuna can. I think it sounds like music. Loud music.A dual-channel tube preamp and overdrive pedal inspired by the Top Boost channel of vintage VOX amps.
ROY is designed to deliver sweet, ringing cleans and the "shattered" upper-mid breakup tones without sounding harsh or brittle. It is built around a 12AX7 tube that operates internally at 260VDC, providing natural tube compression and a slightly "spongy" amp-like response.
ROY features two identical channels, each with separate gain and volume controls. This design allows you to switch from clean to overdrive with the press of a footswitch while maintaining control over the volume level. It's like having two separate preamps dialed in for clean and overdrive tones.
Much like the old amplifier, ROY includes a classic dual-band tone stack. This unique EQ features interactive Treble and Bass controls that inversely affect the Mids. Both channels share the EQ section.
Another notable feature of this circuit is the Tone Cut control: a master treble roll-off after the EQ. You can shape your tone using the EQ and then adjust the Tone Cut to reduce harshness in the top end while keeping your core sound.
ROY works well with other pedals and can serve as a clean tube platform at the end of your signal chain. It’s a simple and effective way to add a vintage British voice to any amp or direct rig setup.
ROY offers external channel switching and the option to turn the pedal on/off via a 3.5mm jack. The preamp comes with a wall-mount power supply and a country-specific plug.
Street price is 299 USD. It is available at select retailers and can also be purchased directly from the Tubesteader online store at www.tubesteader.com.
This hollowbody has been with Jack since the '90s purring and howling onstage for hundreds of shows.
Our columnist’s Greco 912, now out of his hands, but fondly remembered.
A flea-market find gave our Wizard of Odd years of squealing, garage-rock bliss in his university days.
Recently, I was touring college campuses with my daughter because she’s about to take the next step in her journey. Looking back, I’ve been writing this column for close to 10 years! When I started, my kids were both small, and now they’re all in high school, with my oldest about to move out. I’m pretty sure she’s going to choose the same university that I attended, which is really funny because she’s so much like me that the decision would be totally on point.
The campus looks way nicer than it did back in the ’90s, but there are similarities, like bars, shops, and record stores. Man, our visit took me back to when I was there, which was the last time I was active in bands. Many crash-and-burn groups came and went, and it was then that I started to collect cheap guitars, mainly because it was all I could afford at the time, and there were a lot of guitars to find.
In that era, I was using an old Harmony H420 amp (made by Valco), a Univox Super Fuzz, and whatever guitar I was digging at the time. I was so proud to pull out oddball guitars during shows and just have this totally trashy sound. Squealing and squeaking and noisy as heck, my style was reminiscent of Davie Allan, Ron Asheton, and Chuck Berry. Of course, I was way worse than all of them, but I did have a frenetic energy and I covered up my lack of skill with feedback. During the ’90s, there was a great punk revival, and I loved bands like the Mummies, Teengenerate, the Makers, the New Bomb Turks, and a bunch of others. Bands were embracing lo-fi, and I was planted firmly in that vein. Plus, the guitars I liked to use already sounded lo-fi.
“This was about the trashiest-sounding guitar, but in a good way!”
For a short spell I was using this Greco guitar and, man, this was about the trashiest-sounding guitar, but in a good way! See, Fujigen pickups (like the ones here) have this echoey voice that I describe as an “empty beer can” sound. My Super Fuzz would just destroy these pickups, and I wish I had some recordings from that era, because it was a real scene! I believe this Greco was a flea-market find but it was much later that I found out it was called a Greco Model 912. This was actually a copy of a German-made Framus guitar, but with a lot more glitz and a crazier headstock. Four pickup selector switches, volume/tone knobs, and a rhythm/lead switch rounded out the electronics. Again, these pickups are instant spaghetti-Western movie tone. Airy and bright, the bridge area is like instant, gnarly surf music. Tom Morello of Rage Against the Machine has a similar guitar and John Barrett of Bass Drum of Death was also fond of these pickups. Interestingly enough, these particular Grecos were made in small numbers, ranging between 500 to 600 in total (including all pickup combinations).
The Greco brand was initially owned by the U.S.-based Goya Corporation, but in the late 1960s, Fujigen bought the brand name (for $1,000) and produced a few truly gonzo guitars, including this Model 912. Originally called the GE-4, the four-pickup version sold for $99.50 in 1967. My particular 912 was sold at Sid Kleiner Guitar Studios in Califon, New Jersey (which I learned thanks to the attached store sticker on the headstock).
Aside from the chrome coolness and the four pickups, this model featured a cute little flip-up bridge mute that was all the rage at the time. The body also had some tasteful German carvings around the edges, and as I write this, I am missing this guitar tremendously! But not even close to the way I’m going to miss my girl in a few months. At least I know that she can shop at the same record stores!