In what seems like an ocean of barely distinguishable low and mid-gain overdrives, the Paul Cochrane Timmy pedal has emerged as a life raft of no-nonsense transparency and clarity, with just enough tone shaping EQ to suit a wide variety of preferences. It does the one thing you want to mid-gain overdrive to do - act as a clean boost when needed and a creamy front-end builder when wanted - and nothing else. No additional color. No mid-boost or cut. No compression.
When we talk about the delicious tone treatment of the Timmy, we’re really talking about its tone circuit, which comes from the Tim overdrive pedal. The Timmy gets rid of the send/return jacks and the additional boost channel of its big brother and embraces a stripped down, single circuit overdrive design. Where most basic overdrive pedals contain a single blended tone knob, the Timmy offers separate treble and bass controls for precise signal tailoring.
Aside from achieving darn near complete transparency, it is also a pedal that integrates into your signal chain extremely well. By using it as a part of gain-staging setup with several overdrives in a chain, it can add a noticeable fullness while acting as additional EQ at the front or the end. It also has an internal dip switch to add more gain or asymmetrical clipping.
Given that so many players today buy multiple affordable overdrives and quickly sell the ones that don’t jive, it’s a testament to the Timmy’s quality and performance that it sticks around on most pedalboards while creating demand for many more to be made. It hits the sweet spot of gossip-worthy tone and affordability so well that, at times, there’s been a year-long waiting list to get one from builder Paul Cochrane. This most transparent of transparent overdrives has become a must for players who love the way their guitar and amp play with each other.