BSM RM Velvet s/n 3389, OC76 Germanium transistor, tribute to John Mayall's Bluesbreakers' sound

BSM RM Velvet Treble Booster s/n 3389 in mint condition with box and manual.

The BSM Velvet model is based on the British Range Master unit produced between 1965 and 1969, as used by Eric Clapton in John Mayall"s Bluesbreakers. Eric also used the booster when playing in the legendary group Cream. Its biting, powerful sound is clearly in evidence on the Bluesbreakers "Beano" album. Blues rocker Rory Gallagher, Glam rocker Mark Bolan, Heavy Rock pioneer Tony Iommi and Brian May from Queen were also heavy users of the original Range Master unit.

The RM Velvet is the result of a lot of customer demands, looking for the perfect Blues machine. The RM Velvet is loaded with the same highly selected OC76 transistor, used for the famous BSM OR model and therefore sounds much smoother and silkier than it´s brother with the OC44. The tone of the RM Velvet is rounder and warmer than a stock RM and the perfect machine if you are looking for the ultimate Blues pedal.

Almost all British rock guitarists using single coil pickup guitars used a germanium Treble Booster from the late 60's to the mid 70's. By the end of the seventies, the Treble Booster was replaced by a new circuit from Japan, the so called Tube Screamer and other similar overdrive circuits. These were based on the old Treble Boosters and therefore had a very similar frequency response. The germanium boosters on the other hand, sadly fell into oblivion despite their unique and inimitable sound. The RM Treble Booster has been specifically designed for single coil and humbucking pickups with a relatively low/medium inductance, such as pickups in Fender, Gretsch, Burns or Gibson guitars. On these pickups, the RM produces (with the volume control of the guitar turned up to the max) a fat, biting and penetrating lead sound, minus any shrill characteristics. By lowering the guitar's volume control, many shades of crunch can be easily dialed in. Another thing to consider is that when a guitar amp's volume is turned up (reaching saturation), the power amp normally begins to mute the highs, which results in a duller sound. At an amp's full tilt, the RM Treble Booster allows a more transparent tone (covering the entire frequency range) to shine through. The presence control on the amp need only be minimally used (if at all). When vintage amps are used (such as the Fender Deluxe, Fender Bassman, Vox AC30, Marshall JTM 45 or Marshall Plexi) it is amazing what effect the use of a good treble booster has. It is also of interest to note that Eric Clapton used a new 2 x12" Marshall combo (Model 1962 with KT66 output tubes) with the Bluesbreakers, and 100 Watt Plexi heads with Cream. Brian May used a couple of VOX AC30 combos with the RM in front of the "Normal" channel.

The Treble Booster is inserted between guitar and amplifier, not into the FX loop. The magical tone is achieved by the interaction between guitar pickup, treble booster and amplifier. The unit is powered by a 9V battery with a current consumption of approx. 250 uA. The average output level is 10dBm, the maximum output voltage when the strings are struck really hard is 7V max. Note: The positive pole of the battery is ground. By turning the volume pot, the special circuit design makes noises - just like the orginal does!

Interview with Bernd C. Meiser ;
BSM is run by Bernd C. and Steffi Meiser in Germany.

How did BSM start?

I was about 13 years and went to an electronics school here in Germany. I read electronics magazines and in one was a DIY kit for a silicon Fuzz (FuzzFace style) and a treble Booster (Rangemaster clone). These where my very first stompboxes. I also learned to play guitar by myself.

I was editor in the German "Gitarre & Bass" magazine and wrote about historical stompboxes. When I wrote about the treble boosters, especially the Hornby Skewes Treble Booster, Ritchie Blackmore's booster), many guys contacted me to ask if I could build this booster for them. By accident, the schematics were not printed, because the column was too long and a few schematics were simply deleted. So, I began to build the first batch of commercial Boosters. This was in 2003.

I work alone since the beginning. Only my stickers for the boxes' surface come from a professional factory. This factory also creates the sticker's design.

BSMWhere do the name and logo come from?

BSM means Bernd + Steffi Meiser, Steffi is my wife

The logo was designed by the same designer, who also makes the stickers for the top of the pedals.

What sets BSM apart from other builders?

My philosophy, I'm a tone conservator.

In my historical copies I use the original transistors, not replacements.

My clients belongs to a niche market inside of classic rock.

How do you start on a new pedal?

My inspiration comes from existing sounds, where I think "wow, what a overwhelming sound". Then, I analyze this sound and begin my work to build prototypes.

I work on the prototypes when the orders are a little bit low, then I have time for development. Therefore, some prototypes take 3/4 years to develop. I cannot predict this.

How do you name your pedals?

Oh, my Boosters' names are most pragmatics:BSM RW-F

RW-F= Ron Wood-Faces
AP-WA= Andy Powell - Wishbone Ash
Albuquerque= Mick Ralph's extra fine '76s Albuquerque live sound
...
Or they describe the manufacturer:

HS= Hornby Skewes
RM= Range Master
...
Can you tell us something about the production process?

In my house I have two rooms for the building process. BSM is a one-man-shop.

The circuits are all hand made on Veroboards and point-to point hand wiring. I think, it sound better than when the circuit is built on PCB. Making of PCB is faster, but to my ear, it doesn't sound as good as Point-to-point.

The enclosures are Hammond clones that I finish with a strong plastic sticker (made by a different company).

How important is the look of your pedals?

Not really important.

Is parts selection important?

Yes, for my old-style replicas, NOS transistors - off course!

For the new stuff I only use known brands, parts that I tested in the past and which are good for the BSM sound.

BSM RPAWhich of your pedals makes you most proud?

The RPAlines. They produce Blackmore's hard Rainbow sound at any stock Marshall-style amp. The amp doesn't have to be modified for this. Fine thing...

Which of your pedals was your toughest build?

The "Siver Rocker". It has a lot of electronic parts in a small box.

Silver Rocker was a prototype for a long time and has only left the workbench for a month. One prototype is used by Eric Bell / Thin Lizzy.

Which of your pedals is the most popular?

The RPAand RPA Major. They produce really fine Ritchie Blackmore sounds.

Who uses your pedals and for which genres?

I think, for a good rock sound, you need only a good amp and in front of this only a fine Booster. Therefore, I build exclusive boosters (and sometimes the type of Fuzz machines that make a good sound).

Users include Ritchie Blackmore, Tony Iommi, Greg Koch, Roger McGuinn, Andy Powell and some other artists which don't want to read their name in public.

BSM AlbuquerqueWhat does the future of BSM look like?

Since a few years, I see BSM not as a booster factory, more as a "tone conservator". Over the years, my ears have heard some really fine sounds and these sounds I want to re-build. A good sound in 1976 is also a good sound today and it will still be in 20 years from now.

This is my goal for BSM, and the making of e.g. the Albuquerqueor RW-Fwas a result of this.

Are you working on any new products?

Yes, I'm actually working at the NY (= Neil Young) Booster. Neil has live an extra fine rocksound, and since a long time, I wanted to recreate this sound. Now the time is ready for this. I think this prototype will go in production this year.