The Tonebone Hot British is distortion at its best! From fat hot-wired Marshall tones to the huge scooped out mid sounds, the Hot British is blistering brute force extraordinaire!

Based on high-gain amplifier designs, the Hot British is tailored to extract ultra-rich harmonics and full-on saturated tube settings without the mud or noise that is typical with other pedals. The powerful EQ settings truly allow the player to dial in to the type of tones that create everything from chunky rhythms to sizzling lead solos.

Best of all, even when pushing the Tonebone Hot British beyond the limits, the natural dynamics and feel of the player still shines through.

Drive and Level Controls

The Hot British design follows the way a guitar amplifier works whereby the input DRIVE is akin to the input channel volume, while the LEVEL control acts more like a master volume control.

The DRIVE control provides overall input gain to the distortion circuit. When used in conjunction with the EQ controls, the Hot British easily allows one to emulate the rhythm tones reminiscent of ZZ-Top, Metallica, Megadeath and Soundgarden. For soloing, the wailing tones popularized by players like Eddie Van Halen, Richie Blackmore, Yngwie Malmsteen, and Randy Rhodes are also easily attained.

Equalization and Tonal Structure

The Tonebone Hot British employs active post-distortion equalization for maximum flexibility. Tone shaping is performed with three controls and three switches thus allowing the guitarist to dial in the type of tonal structure that may be desired.

HIGH and LOW equalization are extremely active providing up to 15dB of gain control. These work in conjunction with the TOP-END, MID-BOOST and VOICING controls. Overall shaping begins with the TOP-END control with choice of Dark, Normal or Bright settings, which are used to compensate for the tonal characteristics of the amplifier.

The MID-BOOST switch is used to fatten-up single coil pick-ups or to add 'meat' to the tone for additional cut during soloing. The Hot British mid-range frequencies have been carefully selected to work with popular amplifiers like Twins and Marshalls. These settings are extremely effective at compensating for 'clean' oriented channels on classic tube amplifiers.

The three-position VOICING switch works with the CONTOUR control for radical souped-up tones. The FAT position develops huge blistering solo tones and the cut-through power to get past the noise when you have to. The V or 'scoop' position is used to cut the mids while allowing the lower and upper harmonics to remain, creating huge chunky rhythms when building a wall of sound with a solid foundation. Big.

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