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'''Boosts''' (also sometimes called '''Overdrives''') are pedals used to boost the signal strength or , fine-tune the signal frequency response , or add solid-state clipping to get more distortion and/or a preferable different distortion tone from a distortion stage, typically an amplifier's pre-amp. They typically cut bass or boost treble to get more distortion from the midrange and highs while leaving the bass less distorted. This gets a "tighter", less "muddy" tone. They may also feature adjustments to the dynamics of the signal, operating similar to [[Compression|compressors]].
Most distortion pedals can function as boosts if their Drive is set low, usually incorporating tone-shaping controls.
== Popular Models ==
The most popular boost pedal is the '''''Ibanez''''' ''Tube Screamer''. '''''Ibanez''''' changed the components used as well as the circuit design throughout its history, and many prefer the original. While Ibanez has since released reissue and hand-wired versions of the original, the '''''Maxon''''' ''OD808'' is identical to the original ''Tube Screamer'' without costing as much as '''''Ibanez''''' charges. Of course, the differences in tone are more likely noticeable when using these pedals for distortion rather than purely as boosts.
Many others have popped up that mimic the basic design of the ''Tube Screamer'' but tweak certain component values, making some strong changes to the tone. The basic principle is to use a high-pass filter to remove some low end and "tighten" the tone, while using a low-pass to trim some extreme highs, and a variable band-pass to dial in the resonant peak that defines the distortion tone. However, the ''Tube Screamer'' is almost always the basis of comparison, due to its high name and tone recognition.
* Airis Effects ''Savage Drive''
* Maxon ''OD820''
* Protone ''Attack OD''
* Seymour Duncan ''805''
* Way Huge ''Green Rhino''
Various ''treble booster'' pedals were quite popular in the 60's and 70's and remain popular for vintage sounds. These typically provided a high-pass or high-shelf filter with a variable gain and frequency. While I find these nice for a "quick and dirty" approach to dialing in a distortion tone, I prefer to use EQ or a distortion pedal where I have more tone-shaping control.