The RPA box (Ritchie’s Pre Amp) emulates Ritchie’s AIWA reel-to-reel tape recorder preamp stage plus a high-pass function, to get Ritchie’s post ´74 sound with any standard amp.

Pure gain and a hard, agressive Blackmore lead-sound with all classical amps with master volume. The booster represents the high-gain sound of Blackmore's agressive mid/end 70"s live sound, tweaked to match the modern taste of todays world.

The RPA-California was created especially to achieve Ritchie’s DP Mk3 sound. With its “Bite” control you can dial between the raw and fat “California Jam” sound and “Live in London” sound with more piercing highs and tight bass.

The "RPA California II" booster is the soul-mate of our California unit, complementing it with a different goal in mind. The new RPA California II now calls for the correct pickups. The California II makes use of the free space gained via a volume pot. This allowed for the opportunity to map Blackmore's tone even with small amps.

The "RPA Full Quarter", developed for fat single coil pickups like the "Schecter F500", the OBL 450XL (or similar) double blade humbuckers that Ritchie Blackmore used in the 1980 and beginning of the 90s. The pedal ensures no muddy or dull sound with powerful pickups like these in the operation of conventional amps to achieve a dynamic transparent sound.

The 71/73 CM booster is basically a recreation of Bill Hough's custom-made circuit, used by Blackmore 1971 until end 1973. With its "Bright" and "Mode" control, the unit is very versatile to get all sounds of Ritchie's DP Mk2 period.

The RM Majestic is a special high-grade RM unit with highly selected NOS germanium transistors, to receive more gain, more headroom and more transparency with an unheard richness of details.

The RMG signature model is based on the original V*X Treble Booster and was modified to produce the clean “jingle jangle” sound of Roger McGuinn and the Byrds. With its almost unity gain, the RMG is the perfect booster for all clean, sparkling sounds (e.g. country), as well as for acoustic guitars.

The RB box is a pure passive looper with two special line transformers to acquire a high-level FX loop, recommended for Fireball, the RPA line, HS-C, HS-S, RM-Metal or other high output boosters. Combined with a delay stombox it’s a must-have for post '74 Blackmore high-gain delay sound.

The Spectrum fuzz-booster is based on the Sam Ash Fuzz, used by Tommy Bolin during his time with Deep Purple. As a nice addition the tone control was expanded up to almost 6 octaves.

The Fuzz Bender model is a fine handmade germanium loaded fuzz unit, which allows a switchover from Jimi Hendrix’ fat, fuzzy sounding FuzzFace (also used by Blackmore) sound to the more tight sounding V*X/Sola-Sound Tone Bender (Mk1.5) style, used by Jeff Beck in early Yardbirds, Spencer Davis Group, The Who as well as Neil Young and many 60s bands.

The J-Fuzz is a faithful recreation of the well-known early 70’s Jennings Fuzz, equipped with the original silicon transistors from “Micro Electronics” (Japan) and polysterol caps. Gain till the sun rises, violin sustain and really sick tones with the guitar volume turned down.

The Albuquerque is a signature sound pedal to achieve Mick Ralphs' fat Les Paul with Marshall 1976 overdrive live-sound in Bad Company. No control other than just a slope switch to reduce the bass if it’s too much for your needs. A fat pedal with rich harmonics!

The Studio&Live '75 was intended to emulate the sound of the 1975 ‘Ritchie Blackmore’s Rainbow’ album and Ritchie’s early 1975 Rainbow live sound. It was designed to get this sound from any stock “Bright” input found on classic Marshall amps. It also bases on the AIWA reel-to-reel Preamp and could be used clean or with crunchy preamp overload with a 3way switch. It also contains the right bass cut but could be switched off to get the full preamp frequency response.

The BSM "Galaxy 1011" is a faithful recreation of the whole AIWA TP-1011 tape recorder sound stage, Ritchie Blackmore used from late 1973 until today. This 18Volt unit “Galaxy 1011” contains the AIWA´s mic-preamp, the line output amp, the Marshall Factory mod and it holds a status LED.

The RM Recording is based on the British Range Master unit produced between 1965 and 1969, as used by Eric Clapton in John Mayall's Bluesbreakers. It is the BSM top-of-the-line treble booster model for all studio and recording purposes.

Here's the next strike from BSM: a powerful preamp/booster! 40 years after the release of „Back in Black“ Bernd Meiser took the idea of Angus Y. playing not only live but also in the studio with his Schaffer Vega wireless device for extra gain, brillliance and compression. Bernd did not make a simple copy of the circuit but came along with his own ideas to realize the functions. It is designed to hit the high treble input of a British style amp with medium output pickups hard. What came out is a real monster, working from 9 to 18 volts.