
A historical account of guitardom's most iconic overdrive pedal—the Ibanez Tube Screamer.
First designed by one S. Tamura in the late '70s, the Ibanez Tube Screamer is arguably the most beloved of overdrive pedals. It's been rocked by guitar greats as diverse as Eric Johnson, Trey Anastasio, and Brad Paisley, and some would go as far as saying no single pedal has had a greater impact on musical expression or played as important a role in the development of effects modification.
The essence of the Tube Screamer's appeal—what multitudes of similar designs that it has inspired over the years aim to capture—are the subtly pleasing qualities it induces as it interacts with a tube amp: As you increase the amplitude of an input signal to overload a tube amp's preamp, it distorts the signal in a way that adds sustain, edge, and harmonic liveliness, while preserving the innate tonal characteristics of the guitar and amp—and without obscuring the player's dynamics. For the Tube Screamer, the design goal was to distort the signal symmetrically, not asymmetrically like a vacuum tube does.
Humble Beginnings
Stompboxes emerged as the guitarist's tone-warping tool of choice in the wake of the guitar mania fueled by British Invasion bands like the Stones, the Beatles, and the Kinks in the mid 1960s, and then Hendrix, Beck, and Cream toward the end of that decade. Though these bands predominantly relied on tube amps for classic tones, the new sounds they injected into their signal paths via pedals were made possible by the 1948 invention of the transistor. Pedals quickly became one of the most cost-effective, convenient, and instantaneous ways to generate the exciting new sounds that shaped rock 'n' roll—and modern culture by extension. By the late '60s, the market was flooded with portable sound-modifying devices, and effects became commonplace in pop music. Sonic expression was forever changed.
TS808 (1979-1981)
Series: Top Ten
Knob Configuration: Overdrive, Tone, Level
Notes: First Tube screamer. Considered by some to be the holy grail of overdrives.
Country of Origin: Japan
Ibanez and its parent company, Hoshino, were infamous in the late '60s and early '70s for their Fender, Gibson, and Rickenbacker knockoffs. Unsurprisingly, it also added effects pedals to its lineup by the mid '70s. These pedals were actually manufactured by Nisshin, a Japanese company that produced pickups for some Ibanez guitars. In a curious business arrangement, Nisshin was allowed to market its own line of effects, which were identical to those it made for Ibanez, and they were sold under the Maxon brand name. By the late '70s, Nisshin was developing the first Tube Screamer—the famed TS808 that debuted in 1979 and that was later popularized by Stevie Ray Vaughan, among others. According to former Ibanez product manager John Lomas, when the Tube Screamer was created, Roland—a major Japanese competitor—was producing the Boss OD-1 OverDrive and already had a patent on solid-state asymmetrical clipping. This prompted Nisshin to use symmetrical clipping in the Tube Screamer.
"If you look at the schematic between a Tube Screamer and a Boss OD-1, they're almost exactly the same thing," Lomas says. "The OD-1, though, is what they call an asymmetrical clipper. When you put a signal in it, it does not distort the top and bottom of the soundwave the same. Instead, it distorts one differently—the way a tube would. The original Boss OverDrive was designed to be a tube simulator, which was really big back then because, of course, most amplifiers were starting to get away from tubes. They were solid-state, and they really sounded like shit. So there was a market for tube-simulation pedals. I believe that's probably why the Tube Screamer was named the Tube Screamer."
The TS808 also differed from the OD-1 in that it had a Tone control, featured a common JRC 4558D integrated circuit (IC) chip, and had a small rectangular footswitch. "The Tube Screamer was really the first pedal I saw that had an IC in it," says Lomas. "All the overdrives prior to the Tube Screamer were built around transistors." Lomas contends that the sweet, vocal midrange sound the TS808 is known for has everything to do with that JRC4558D IC chip—which explains why Lomas and many other overdrive aficionados prefer the sound of the original over other permutations of the pedal that have emerged over the years.
The TS Hits Its Stride — TS9 (1982-1984)
Series: 9 Series
Knob Configuration: Overdrive, Tone, Level
Notes: Same basic configuration as TS808 but with a bigger footswitch and 9V AC operation.
Country of Origin: Japan
Despite the popularity and Holy Grail status attained by the original TS808, the Tube Screamer wasn't left alone—and plenty of pedal lovers are glad. Perhaps the most popular of all Tube Screamers, the TS9 replaced the TS808 in 1982 with the introduction of the 9 Series. The TS9 was slightly brighter and a little less smooth sounding than the 808. The two were almost identical internally, apart from the TS9's expanded output. The footswitch got bigger, too. Nine Series pedals had a footswitch that took up approximately a third of the pedal—a move clearly intended to compete with the easy-to-stomp design of Boss pedals. However, one drawback of the new Tube Screamer, according to Lomas, was that TS9s were built with a somewhat random sourcing of parts—basically whatever was readily available at the time of manufacture. This resulted in TS9s that varied widely in tone from batch to batch.
"[The introduction of the TS9] was not a magical moment by any stretch of the imagination," Lomas says. "The public didn't give a rat's ass—not for the longest time. It caught on much later. I would say guys really started talking about it in the late '80s, and by 1990 it was really starting to roll along." Since there was little demand for the TS9 when it came out, it was out of production by 1985. Ibanez then released a new series of stompboxes, the Master Series, without a Tube Screamer in the lineup. Instead, it included the Super Tube STL—a 4-knob affair with a Tube Screamer circuit and a 2-band EQ. According to "Analog Mike" Piera—a noted stompbox expert whose company, Analog Man, began modifying Tube Screamers to original specs in the mid 1990s—the STL was similar to the rare (and very valuable) European ST-9 Super Tube Screamer that was never released in the US.
ST9 (1984)
Series: 9 Series
Knob Configuration: Overdrive, Mid Boost, Tone, Level
Notes: Mid Boost control added. Breifly available in Europe but not in the US. Extremely rare.
Country of Origin: Japan
STL Super Tube (1985)
Series: Master/L
Knob Configuration: Overdrive, Level, Bite, Bright
Notes: Not officially a Tube screamer, but uses a Tube
Screamer circuit with a 2-band EQ.
Country of Origin: Japan
The Master Series only ran for one year, though—and the Tube Screamer wasn't M.I.A. for long. In 1986, Ibanez released the brightly colored Power Series (aka the 10 Series), which boasted a new, high-fidelity TS10 with quieter circuitry that eliminated the vexatious chirp that older Tube Screamers sometimes emitted when all the controls were turned up. However, these alterations affected the burgeoning star's signature tone, and the TS10 wasn't as well received as Hoshino hoped. Thanks to blues and blues-rock mavens like SRV, many players were getting hooked on the tones of TS808 and TS9 Tube Screamers.
TS10 (1986-1993)
Series: Power/10 Series
Knob Configuration: Overdrive, Tone, Level
Notes: Changed cosmetically to match the 10 series. Was John Mayer's current Tube Screamer of choice.
Country of Origin: Taiwan
TS5 (1991-1998)
Series: Soundtank
Knob Configuration: Overdrive, Tone, Level
Notes: Changed cosmetically to match the Soundtank series of smaller, plastic pedals.
Country of Origin: Taiwan
Piera says that, until the recent use of TS10s by players such as John Mayer, TS10s had remained undesirable. "I still hate them," he says, calling it a "disposable" pedal. "They used cheap, proprietary parts— jacks, switches, and pots that often break and can't be replaced, because the sturdy parts used in handmade, handwired pedals like the TS9 won't fit. They have circuit boards that have all these parts mounted on them that break off, just so they could make pedals cheaply with machine soldering."
Lomas explains how the economy affected the quality of manufacturing during those years. "When I first joined the company," says Lomas, "back around '83 or '84, it was, like, 260 yen to the dollar. Today, it's around 77 or 78. Back around '85, the yen started a turnaround and was coming down to about 150, 160—and they [Hoshino] were crapping their pants. They used to be able to take anything that was made in Japan and throw it out on the US market and make money because it was good quality and the exchange rate was very favorable for the yen. Then, suddenly, they had to start worrying about making things cost effectively."
When Ibanez launched its Soundtank effects line in 1991, the new TS5 Tube Screamer's design goal was to capture the sound of the older, vintage units at cheaper costs by using streamlined manufacturing techniques. The TS5 was not handwired like the TS9 and TS808, and it was eventually sold in a high-impact plastic case, rather than the original metal casing. The TS5's circuit is comparable to the TS9, but it was made by Taiwan-based manufacturer Daphon rather than Nisshin, and it featured smaller, cheaper components.
Rebirth of a Classic
Perhaps the resurrection of the TS9 was inevitable, but Lomas contributed to its legacy first by insisting on the 1992 reissue of the TS9, and then by developing the TS9DX Turbo Tube Screamer. He says when he took over product development in 1990, he immediately started pushing for a TS9 reissue. Used TS9s were selling in stores for well over $250, when Ibanez itself was selling used units to dealers for five bucks. Lomas says management was wary. Nisshin wanted to move toward digital technology and had no interest in going "backward" to the old analog products—which is somewhat ironic, Lomas notes, considering that Nisshin is producing many of the older analog effects now. "At the time," he says, "they thought we were crazy."
But money often talks when words fall short. After prolonged browbeating, Nisshin started to see the dollar signs that had convinced Lomas, and they authorized the reissue. Lomas recalls how he and his colleagues spent weeks buying every original TS9 they could get their hands on in order to ensure that the pending reissue was an exact replica. As they cracked open and examined the pedals, they found that almost every one had a Toshiba TA75558 IC chip rather than the JRC chip commonly found in TS808s. "Since 90, 95 percent of TS9s had that chip," says Lomas, "that's what we decided to put back in it." He recalls with a hint of nostalgia the way the company boasted about the reissue when it finally came out—about how it was made in the same factory as the original. "It was even built by the same middle-aged ladies. It was a dead, nuts-on copy," he says. Even the manual was identical—dated 1981, for authenticity. More than 5,000 sold within weeks of the release, and Ibanez estimates it has sold 10,000–12,000 TS9 reissues each year over the last decade.
TS9 Reissue (1992-Present)
Series: 9 Series
Knob Configuration: Overdrive, Tone, Level
Notes: Faithful reproduction of the original TS9
Country of Origin: Japan
TS9DX (1998-Present)
Series: 9 Series
Knob Configuration: Overdrive, Tone, Level, Mode
Notes: Offers traditional Tube Screamer tones, as well as three additional modes with increasing amounts of volume and bass response.
Country of Origin: Japan
With the success of the TS9 reissue, the TS9DX seemed like a no-brainer. According to Lomas, the company watched, a glint of envy in its eye, as Dunlop multi-load wah pedals flew off the shelves. Hoshino felt it needed a Tube Screamer with different modes for output and distortion, and it seemed the only thing to do was to get in on the action.
So, in 1998, Lomas designed the DX for players who craved more volume, distortion, and low end. In addition to the Drive, Tone, and Level knobs that had already become Tube Screamer staples, he added a fourth knob with four mode positions: TS9, +, Hot, and Turbo, each one adding low end and increasing volume to some degree. The circuit is exactly the same as that of the original TS9, but the mode switch changes certain components' parameters via clipping diodes and tone capacitors. The + mode is grittier than the original TS9, whereas Hot yields a crunchier tone with boosted mids, and Turbo, the most powerful of the four modes, projects a thicker, more modern sound.
"I wanted to come up with something that would be as true to the Tube Screamer tonality as possible, so that at least in one position it would be a classic Tube Screamer," says Lomas. "That's where I came up with the concept of varying the clippers. I didn't want any digital simulation because, in my mind, it just wouldn't be a Tube Screamer then."
A Legacy of Mids
In the past decade, the Tube Screamer has continued to evolve with new editions such as the TS7 Tone-Lok, the TS808 reissue, the TS9B—the first Tube Screamer for bass—and the 2010 introduction of the Tube Screamer amp—an ultra-portable, low-wattage amp (available in head and combo versions) that incorporates a selectable Tube Screamer circuit in its preamp. So far, 15-watt head and combo models are available, although models with varying wattages are rumored to be in the works.
Despite the Tube Screamer's many variations, Ibanez electronics merchandiser Frank Facciolo says its legendary sound is rooted in its characteristic midrange presence. Lomas agrees. "It's still one of the best things to overdrive any tube amplifier with," he says. "It just does magical things to tubes."
[Updated 7/27/2021]
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Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Mason’s hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Mason’s solos every day for 85 or so days. Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing. Levi shares the insight he gleaned from digging deep, and he tells us what it was like when they shared a stage last year. Plus, Levi plays us some great examples of Mason’s playing.
For the first time ever, two guitar greats, John 5 and Richie Kotzen will be heading out on the road this year. The tour will launch October 16 and run through November, hitting markets across the U.S.
Find the full tour itinerary right plus a link for tickets & VIP, including additional dates featuring John 5 only. Reserved seating tickets will go on sale Friday May 16 though a fan presale will begin today at noon local time and fans are strongly encouraged to buy early to get the best seats.
Meet and Greets for both artists will be available. For John 5 please go to: https://john5store.com/collections/vip.
Today, John 5 also announces more details of his anticipated new album. Called The Ghost, it will be released October 10 and is led by the new track “Fiend,” featuring Kenny Aronoff.
John 5 continues running public tours this month for his Knights In Satan’s Service Museum of KISS Memorabilia in Los Angeles, California. Guided tours are open to the public for one month only (with a possible expansion). Current dates available are May 12-16, May 19-23 and May 27-30. Each will be led by John 5 himself who will provide tons of rich detail and answer any questions. Secure your place HERE.
JOHN 5 continues to tour with Mötley Crüe including an upcoming residency in Las Vegas in 2025.RICHIE KOTZEN &
JOHN 5 FALL 2025 TOUR
October 16 El Cajon, CA @ Magnolia
October 17 Riverside, CA @ Fox Performing Arts
October 18 Roseville, CA @ Goldfield Trading Post
October 19 San Jose, CA @ The Ritz
October 21 Phoenix, AZ @ Celebrity Theatre
October 22 Albuquerque, NM @ KiMo Theatre
October 24 Dallas, TX @ Granada Theater
October 25 Leander, TX @ The Haute Spot
October 27 New Orleans, LA @ House of Blues
October 28 Memphis, TN @ Minglewood Hall
October 29 Nashville, TN @ Fogg Street Lawn Club
October 30 Atlanta, GA @ Variety Playhouse
October 31 Orlando, FL @ House of Blues
November 1 Fort Lauderdale, FL @ Culture Room
November 2 Clearwater, FL @ Capitol Theatre
November 4 Richmond, VA @ The National
November 5 Leesburg, VA @ Tally Ho Theater
November 6 Patchogue, NY @ Patchogue Theatre
November 11 Glenside, PA @ Keswick Theatre
November 12 Derry, NH @ Tupelo Music Hall
November 13 Foxborough, MA @ Six String Grill & Stage
November 14 Stroudsburg, PA @ Sherman Theater
November 15 Lorain, OH @ Lorain Palace Theatre
November 16 Columbus, OH @ The King Of Clubs
November 17 Warrendale, PA @ Jergels
November 19 Wyandotte, MI @ District 142
November 20 Flint, MI @ The Machine Shop
November 21 Fort Wayne, IN @ Piere’s
November 22 St. Charles, IL @ Arcada Theatre
November 23 Belvidere, IL @ Apollo Theatre
November 25 Denver, CO @ Oriental Theater
November 29 Pioneertown, CA @ Pappy & Harriet's*
*John 5 only
AEROSMITH guitarist and songwriter JOE PERRY is set to return to the road for a series of August performances with THE JOE PERRY PROJECT. The 8-date run kicks off August 13 in Tampa, FL and wraps August 23 in Port Chester, New York, with an August 19 performance in PERRY’s Boston hometown (see the itinerary below). For the North American trek—which marks the first solo shows for PERRY this year—the legendary guitarist will be joined by his Aerosmith bandmates Brad Whitford (guitar) and Buck Johnson (keys), along with The Black Crowes’ Chris Robinson (vocals), and Stone Temple Pilots’ Robert DeLeo (bass), and Eric Kretz (drums).
“Well…it’s time to let the music do the talkin again,” PERRY says. “I’m really excited about the JPP line up this year!!!! Most of these guys played with me at The Roxy in L.A. at the debut event for my latest solo album [Sweetzerland Manifesto] in January 2018. They’re all busy as hell but thankfully they’re able to carve out some time for this run. And I’m not only lucky enough to have Brad Whitford onstage with me but Chris Robinson of The Black Crowes! [who sang ‘Fortunate One’ on Sweetzerland Manifesto MKII], Robert DeLeo and Eric Kretz from STP!!! and Buck Johnson who plays keys and sings with Aerosmith, the Hollywood Vampires, and is also a solo artist in his own right.”
For the shows, the Rock and Roll Hall of Fame inductee says “the set list is gonna include my fav JPP cuts, STP, Black Crowes, and with Brad we’ll be hitting the Aero hits and some deep cuts and then ya never know!!!! Gonna be a BLAST, and if you’ve ever been to one of my shows you know the words GARAGE BAND on STEROIDS come to mind! See you there!!!!”
DATE | LOCATION | VENUE |
Wednesday, August 13 | Tampa, FL | Seminole Hard Rock - Tampa |
Thursday, August 14 | Hollywood, FL | Seminole Hard Rock - Hollywood |
Saturday, August 16 | Toronto, ON | HISTORY |
Sunday, August 17 | Muskoka, ON | Kee to Bala |
Tuesday, August 19 | Boston, MA | Wang Theatre |
Wednesday, August 20 | Hampton Beach, NH | Hampton Beach Casino Ballroom |
Friday, August 22 | Mashantucket, CT | The Premier Theater at Foxwoods Resort Casino |
Saturday, August 23 | Port Chester, NY | Capitol Theatre |
A sample page from the author’s analog log.
Seasonal changes are tough on your acoustic. Here’s how you can take better care of your prized instrument.
As you read this, spring is in bloom in most of the US, or maybe it has been for some time. I’m timing this column specifically to ask acoustic guitarists, in this season of increasing humidity and comfortable conditions, to prepare for what’s coming. It’s never too soon, and time flies. Before you know it, we’ll be back to the maintenance phase and you might be blowing up the phones of your local guitar shops, luthiers, and techs. I’m here to encourage a decidedly old-school approach to preventative guitar maintenance, and yes, it starts now.
Why, you ask? Well, as the lead luthier at Acoustic Music Works, I can tell you that in my nearly 15 years in this position, this was the worst winter ever for preventable repairs on acoustic guitars. Fret sprout, bridge lifts, top sink, soundboard cracks, back cracks, loose binding, general malaise… These hit us very hard in the winter that spanned 2024 and 2025. Am I complaining? On the one hand, no. This is part of how we make our money. On the other hand, yes! Repair schedules related to dryness and humidity issues can stretch into weeks and even months, and nobody wants to be without their favorite instruments for that amount of time. With a little thoughtfulness, however, you might get through next winter (and every one thereafter) without hefty repair bills or time apart from your musical companion.
Our preparation is going to start with an unlikely but very important guitar accessory: the humble notebook. Plain, lined, grid, day planner… it doesn’t matter. We all need to actively participate in our instrument maintenance, and in my experience, fancy apps that track humidity via Bluetooth breed a kind of laziness, a feeling of safety that might prevent us from actually physically looking in on conditions. Better we keep an analog, well, log, so that we know where things stand, and I suggest checking in daily.
“This was the worst winter ever for preventable repairs on acoustic guitars.”
Track your relative humidity, both in the case and in the room where your instruments mostly reside, but also take notes on your action height, top deflection (StewMac has some great tips for measuring this) and anything related to playability that you believe you can observe empirically.
Dryness is the root cause of most guitar issues that manifest in the fall and winter months. Symptoms of dryness include sharp fret ends, falling action and dead frets, sunken top around the sound hole, and cracks and bridge lifts. With your trusty notebook, you’ll get a feel for the sensitivity level of your instrument, and that knowledge is power!
A few other basic implements will not only assist you in your observations, but may also satisfy your need to buy guitar-related things (at least for a minute). Getting quick and comfortable with a fret rocker is a great skill to have, and is invaluable in diagnosing buzzes due to high frets or frets that have come unseated due to dryness. A well-calibrated relief gauge might seem luxurious, but it can prevent you from making unnecessary or extreme truss rod adjustments. A string action gauge, or even a simple machinist’s rule or set of feeler gauges, will help you keep track of your action. Get a three-pack of hygrometers so you can average their readings, rather than depending on one.
Lest we forget: A guitar can not only be too dry, it can also be too wet. By beginning your maintenance diligence in the spring/summer, you’ll also be able to tell if your instrument is the victim of a too-humid environment. The signs of over-humidification are subtle: Your action may rise from a puffed-up top, and in extreme cases, glue joints could begin to fail. In my experience, an over-humidified guitar will suffer from dulled tone, almost like a sock in the sound hole. If you’re sensing a lack of clarity in your guitar all of a sudden, start with new strings. If it persists, it might be due to over-humidification, and you may want to introduce a desiccant to the case for a time. The more lightly built your guitar is, the more sensitive it will be to seasonal changes.
By getting into these habits early, you’ll be empowered by knowing your instrument more intimately. You’ll understand when and why changes in tone and playability might have occurred, and you’ll hopefully save on repair bills year-round. Feel free to reach out with any questions. Who knows? I might just send you a notebook with an AMW sticker on the cover!