7 SUPER FEATURES of SABBADIUS Mr. White SPECIAL II
Analog pedal with 100% TRUE BYPASS mechanical footswitch.
The Mr. White SPECIAL II is a pedal boosterl that is specially designed for highlighting guitar solos or simulating Tube Amps.
Stevie Ray Vaughan used to played a very warm sound, rich in mid and
harmonic tones, given by his guitar and the guitar equipment he used, .
such as Dumble Steel String Singer, Fender Super Reverb, Fender Vibroverb,
Fender Bassman, among other equipment modified by Cesar Diaz.
Jimi Hendrix used to played in studio using a Fender Dual Showman, a Guild Pre Amp, a Fender Bassman and Marshall´s with a lot of gain because he turn all the knobs up to “breaks” the speakers and force the tubes to give that classic Jimi Hendrix Tones. This allows him to get thoose rich and big response tones.
SABBADIUS Mr. White SPECIAL II was developed to get closer to the sounds of the equipment mentioned above but, in the process, I found out different use and combination options you can get with this pedal and its controls:
1- Booster simulating Tubes Amps giving more saturation to the sound, more clarity if you preffer and richer Mid´s.
2- If you already have a Tube Amp and you can’t raise the volume to saturate the tubes and get that particular tube amp sound, with the Mr. White SPECIAL II you can get the same natural saturation of your equipment at low volumes. To get those different tones and sounds you can choose between 2 different modes:
*JIMI TOGGLE SWITCH MODE:
JIMI / ON & JIMI / OFF
*SRV TOGGLE SWITCH MODE:
SRV DIRTY & SRV CLEAN
3- Long chains of pedals, which are not TBP (True Bypass) or they are TBP but you have a long effects chain in your pedalboard, tend to take away the original sound from your equipment, such as treble and mid tones. By connecting the SABBADIUS Mr. White at the end of the chain (before the amp), and setting the OUTPUT knob to maximum and the BOOST CONTROL at 5 you add all those bright and mid tones your sound lost in the long chain, thus getting your original sound back.
4- You can change the function of the SABBADIUS Mr. White SPECIAL II by connecting it before or after the gain pedals, such as the Overdrive, Fuzz or Distortion pedals.
• If you connect the Mr. White SPECIAL II after a Distortion pedal, it will add significant volume and feedback. The addition of these elements to the Distortion, Overdrive, Fuzz, etc. improves the harmonic tones, which is ideal for Blues, Rock, Funk solo, among others.
• If you connect the Mr. White before the gain pedals such as Overdrive, Distortion or Fuzz pedals, it will saturate your Distortions and add more sustain; it will “enhance” the sound as well as add volume to the solos or enrich the sound of your gain pedal.
(This setting is recommended for styles such as Metal, Grunge, Hardcore, Hard Rock, Punk, etc.)
5- If you are not keen on taking your amp to small places like Pubs, Bars or small rooms, you can turn your Mr. White SPECIALL II into a "Hot Vacuum Tubes Simulator Booster Preamp".
• By connecting the Mr. White at the end of your chain of pedals and directly to the console you can achieve that tube amp sound whether saturated or not, and handle the amount of volume and saturation from your pedal and give the EQ with your guitar Tone control and console, so that you don’t fully depend on the sound engineer.
6- The other one is the "Jimi Magic Pre-Amp" (JIMI / ON & JIMI / OFF) this allows you to switch the volume from your amp down and cranck the sound using this pedal, will increment in harmonics, saturation, Bass response and brights giving sounds together like the characteristic sound from Jimi Hendrix in the Studio like you are using a crancked Fender Dual Showman or a Fender Bassman. When you see the PURPLE light ON means that this mod is ON and you will notice a little volume drop but will increase in gain. For this setup I recommend to use it like the last pedal in your pedalchain before the Amp Input.
7- The Mr. White SPECIAL II is an excellent choice to use it as a Pre-Amp for acoustic guitars to give more dynamics and rich the tones and prevent the tipycally “HUM noise” of feedback and microphonics made from the guitar hole and soundboard.