When you’re going through a particularly tough time in life, even simple objects can take on symbolic significance, serving as reminders of intense moments from the past. In my case, the hardest time was undoubtedly when I lost my job as a geologist. It coincided with my return to playing in a band. So, for me, getting back into playing, that very band I played with, and even the instruments I used are all symbols of that memory. Playing kept me afloat, it stopped me from losing my mind and, incidentally, it was also the means by which I found a new job later on, so there are certain things from that period that in some way symbolise my clinging on to hope and, ultimately, my recovery. Yes, even if it’s just a simple guitar effects pedal…

 

 

When I started playing in a band again, I knew nothing about effects pedals. I’d only ever had one – a Boss distortion pedal – before switching to a Zoom digital multi-effects unit. A brilliant guitarist who lived next door showed me one of his favourite pedals: the Fultone OCD, a hand-built overdrive from California. He raved about its dynamics and touch sensitivity, as well as its obvious tonal qualities. Although I was rather out of practice and inexperienced with effects pedals, I was able to appreciate the pedal’s sonic qualities. And that sparked a desire to own it. I’d only just started again; I had a small digital multi-effects unit with which I hoped to learn more about individual analogue effects pedals, but the same friend urged me to use the real thing rather than an inferior digital simulation. So, one night, whilst the rest of the family were asleep, I was browsing eBay and found a bargain Fulltone OCD pedal from the US; so, in complete secrecy, I clicked the ‘buy’ button and waited for the arrival of the coveted pedal from the States.

 

Needless to say, it was love at first sight. I absolutely loved the sound this effect produced; it reminded me so much of my beloved Stevie Ray Vaughan. I’m talking about the sound, of course… Not the way I manage to play it… 😉

 

That’s where my journey with guitar effects pedals began. And today I can say I know a fair bit more about them, yet at one point I sold my beloved OCD. It was a time when I’d become obsessed with Italian effects pedals – I’d bought a Masotti and then a Cornerstone too; I loved them both immensely, and in some respects you could even say they were on a par with, if not better than, the OCD.

 

And this is where something happened that got me thinking. I didn’t last very long without an ACD, even though I’m not actually using it at the moment. I often watch videos and read articles about guitar tone, effects and amplifiers, and every time I happened to see an OCD, I felt a pang of nostalgia. When I decided to get a digital multi-effects unit, part of the reason was that I had a few pedals I wasn’t even using – just for the pleasure of owning some classic effects. After all, I play guitar in my spare time and it’s very important to me, so it’s only natural that I have some spare or extra kit. I don’t have many guitars or amps, but I had accumulated a few pedals. At the time, it almost bothered me and I thought it was a huge waste, so I sold almost everything to buy the digital multi-effects unit; as I said, this multi-effects unit only lasted a week.

I only bought back a few of the pedals I used to have – the cheapest ones. I carried on playing with just a few of them without any problems. But then I started craving classic pedals again, and in particular the OCD, which represents a special time in my life: losing my job yet starting a new musical chapter. So I made a decision and told myself: I still want a small, affordable collection of essential pedals. The Fulltone OCD may well be a more expensive boutique pedal than simpler ones that can give you the same satisfaction (which I get, for example, from the Boss Blues Driver), but I just can’t do without it. It reminds me of the emotions I felt when I picked up the guitar again; like a tsunami, the passion swept over me once more, because it was something I’d started when I was very young and, for various reasons, had given up for a long time. Now it had all come flooding back with a vengeance, and the night I bought that pedal, the marvellous sound I managed to get out of it has, in some way, remained etched in my mind; in my memories, it is indelible, and I realised that I simply cannot part with it, not just because it represents that pivotal moment.

So I bought another one. This time it’s a 1.4 version. It’s supposed to be more refined than the 1.7 I had, but very similar in terms of sound. As I write, I’m waiting for it to arrive. I don’t even need it straight away. I’ve got a very important gig coming up soon, and as the sounds I need weren’t covered by any of the pedals I had – I could have used it instead of the Blues Driver if I’d wanted to – but I wouldn’t have done so even if it had arrived in time. And yet I’m eagerly awaiting its arrival because I think I made a mistake in selling it, though I only realised this after my third purchase…

 

Then I happened to play on stage with the friend who’d introduced me to it, and so I saw his OCD sitting in its place on his pedalboard. That made me want one again; I felt a pang of nostalgia for the pedal I used to own and even for the way I’d bought it. I set about looking for one, but in my enthusiasm I made a mistake and ended up buying the latest version, the 2.0. And I didn’t like it at all. So I set about looking for the one I’d had before, the 1.7. For a while, I had two Fulltone OCDs. I could compare them side by side, and I clearly preferred the earlier version. So I sold the 2.0 and carried on for quite a while with my new OCD 1.7.

After a very brief foray into modern digital effects and amp simulators (it lasted just a week – I sold the unit in question), I began to appreciate the more affordable pedals. Fulltone was among the first to introduce high-quality pedals that were labelled ‘boutique’. Although I greatly admire the expertise of small Italian companies in this sector – where they are renowned and hugely successful – I’m somewhat opposed to the idea of ‘boutique’ pedals, because there are some very affordable ones that sound just as good. At one point, I sold this Fulltone OCD as well.

 

And this is where something happened that got me thinking. I didn’t last very long without an ACD, even though I’m not actually using it at the moment. I often watch videos and read articles about guitar tone, effects and amplifiers, and every time I happened to see an OCD, I felt a pang of nostalgia. When I decided to get a digital multi-effects unit, part of the reason was that I had a few pedals I wasn’t even using – just for the pleasure of owning some classic effects. After all, I play guitar in my spare time and it’s very important to me, so it’s only natural that I have some spare or extra kit. I don’t have many guitars or amps, but I had accumulated a few pedals. At the time, it almost bothered me and I thought it was a huge waste, so I sold almost everything to buy the digital multi-effects unit; as I said, this multi-effects unit only lasted a week.

I only bought back a few of the pedals I used to have – the cheapest ones. I carried on playing with just a few of them without any problems. But then I started craving classic pedals again, and in particular the OCD, which represents a special time in my life: losing my job yet starting a new musical chapter. So I made a decision and told myself: I still want a small, affordable collection of essential pedals. The Fulltone OCD may well be a more expensive boutique pedal than simpler ones that can give you the same satisfaction (which I get, for example, from the Boss Blues Driver), but I just can’t do without it. It reminds me of the emotions I felt when I picked up the guitar again; like a tsunami, the passion swept over me once more, because it was something I’d started when I was very young and, for various reasons, had given up for a long time. Now it had all come flooding back with a vengeance, and the night I bought that pedal, the marvellous sound I managed to get out of it has, in some way, remained etched in my mind; in my memories, it is indelible, and I realised that I simply cannot part with it, not just because it represents that pivotal moment.

So I bought another one. This time it’s a 1.4 version. It’s supposed to be more refined than the 1.7 I had, but very similar in terms of sound. As I write, I’m waiting for it to arrive. I don’t even need it straight away. I’ve got a very important gig coming up soon, and as the sounds I need weren’t covered by any of the pedals I had – I could have used it instead of the Blues Driver if I’d wanted to – but I wouldn’t have done so even if it had arrived in time. And yet I’m eagerly awaiting its arrival because I think I made a mistake in selling it, though I only realised this after my third purchase…