The little green box has graced the pedalboards of so many guitar legends. Here are 10 options across this subsection of variation and innovation, ranging from budget-friendly reproductions to over-the-top, all-in-one affairs.
Wampler Moxie Overdrive Pedal
This mini monster was inspired by the now sought after TS10 (thanks, John Mayer!) and features two different EQ settings via the voice switch and additional MOSFET gain via the fat switch. Featuring the classic 4558 chip, it can be powered with an 18-volt adapter for increased headroom.
JHS Bonsai
Having trouble deciding what Screamer to grab? Why not get the “greatest hits?” Josh Scott nabbed his favorites and faithfully recreated nine variations in a single stomp—warts and all.
Emerson Custom Scranton Screamer
Stick it to those geeks in Utica with this Dundie-winning overdrive that features an active 2-band EQ plus two different clipping modes (symmetrical and asymmetrical).
Origin Effects Halcyon Green Overdrive
The real twist in this circuit is the addition of the company’s adaptive circuitry, which adjusts the dirt voicing to the dynamic aspects of your playing. Based on the classic TS808, it also features an alternate mod mode aimed at boosting already cranked high-gain amps.
EarthQuaker Devices Plumes Small Signal Shredder
Dubbed a “small signal shredder,” this pedal offers the Trinity of Screamer controls (level, tone, and gain), but throws in a three-position toggle that allows you to move from no clipping to either LED or asymmetrical silicon for a looser feel.
Maxon OD808
The original designers of the 808 circuit offer up a faithful reissue full of that trademark compression and low-end cut. It also uses the same JRC4558 chip and has a lower noise floor than the original—useful for when you’re pushing high-gain stacks that are cranked to the gills.
Electro-Harmonix East River Drive Classic Overdrive
Pedal legend Mike Matthews’ take on a Screamer-style circuit is this wildly affordable and dead-simple overdrive that stays faithful to the roots of the original but tweaks the sound to give it a unique edge.
Way Huge Green Rhino MkV
A new, smaller version of Jeorge Tripps’ classic interpretation offers up two new controls for fine tuning your tone. The freq knob cuts or boosts either 100Hz or 500Hz while curve helps tame any harsh high end.
MOOER Green Mile Electric Guitar Overdrive Pedal
This extremely affordable Screamer-style pedal not only will save you space on your pedalboard, but it comes equipped with two different modes (hot and warm) to give you increased gain and presence.
Voodoo Lab Sparkle Drive Mod Overdrive Pedal
Featuring a unique clean level control, Voodoo Lab’s flagship overdrive offers three different gain modes that go from vintage 808-style to more modern hi-gain fare.
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Last August, metalcore giants Poison the Well gave the world a gift: They announced they were working on their first studio album in 15 years. They unleashed the first taste, single “Trembling Level,” back in January, and set off on a spring North American tour during which they played their debut record, The Opposite of December… A Season of Separation, in full every night.
PG’s Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the band’s show at Nashville’s Brooklyn Bowl for this new Rig Rundown.
Brought to you by D’Addario.Not-So-Quiet As a Mouse
Primack started his playing career on Telecasters, then switched to Les Pauls, but when his prized LPs were stolen, he jumped back to Teles, and now owns nine of them.
His No. 1 is this white one (left). Seymour Duncan made him a JB Model pickup in a single-coil size for the bridge position, while the neck is a Seymour Duncan Quarter Pound Staggered. He ripped out all the electronics, added a Gibson-style toggle switch, flipped the control plate orientation thanks to an obsession with Danny Gatton, and included just one steel knob to control tone. Primack also installed string trees with foam to control extra noise.
This one has Ernie Ball Papa Het’s Hardwired strings, .011–.050.
Here, Kitty, Kitty
Primack runs both a PRS Archon and a Bad Cat Lynx at the same time, covering both 6L6 and EL34 territories. The Lynx goes into a Friedman 4x12 cab that’s been rebadged in honor of its nickname, “Donkey,” while the Archon, which is like a “refined 5150,” runs through an Orange 4x12.
Ryan Primack’s Pedalboard
Primack’s board sports a Saturnworks True Bypass Multi Looper, plus two Saturnworks boost pedals. The rest includes a Boss TU-3w, DOD Bifet Boost 410, Caroline Electronics Hawaiian Pizza, Fortin ZUUL +, MXR Phase 100, JHS Series 3 Tremolo, Boss DM-2w, DOD Rubberneck, MXR Carbon Copy Deluxe, Walrus Slo, and SolidGoldFX Surf Rider III.
Taver’s Teles
Vadim Taver’s go-to is this cherryburst Fender Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primack’s recommendation. His white Balaguer T-style has been treated to the same upgrade. The Balaguer is tuned to drop C, and the Fender stays in D standard. Both have D’Addario strings, with a slightly heavier gauge on the Balaguer.
Dual-Channel Chugger
Taver loves his 2-channel Orange Rockerverb 100s, one of which lives in a case made right in Nashville.
Vadim Taver’s Pedalboard
Taver’s board includes an MXR Joshua, MXR Carbon Copy Deluxe, Empress Tremolo, Walrus ARP-87, Old Blood Noise Endeavors Reflector, MXR Phase 90, Boss CE-2w, and Sonic Research Turbo Tuner ST-200, all powered by a Voodoo Lab Pedal Power 2 Plus.
Big Duff
Harmon’s favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which he’s outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ’70s Jazz Bass. This one also sports Primack-picked pickups.
Rental Rockers
Harmon rented this Orange AD200B MK III head, which runs through a 1x15 cab on top and a 4x10 on the bottom.
Noah Harmon’s Pedalboard
Harmon’s board carries a Boss TU-2, Boss ODB-3, MXR Dyna Comp, Darkglass Electronics Vintage Ultra, and a Voodoo Lab Pedal Power 2 Plus. His signal from the Vintage Ultra runs right to the front-of-house, and Harmon estimates that that signal accounts for about half of what people hear on any given night.
