1. Driver 2 Cars
2. Blues Driver Keeley Mod Problems

Robert Keeley made his name modding pedals, and one of his most beloved upgrades was to the Boss Blues Driver.Keeley’s “phat” mod added some low end to the mostly full-range Blues Driver and, despite the Boss pedal’s reputation as a “transparent” overdrive, the restored beef was deemed a welcome addition. The Super Phat Mod is Keeley’s in-house take on the Blues Driver; it follows the original pedal’s topology but, notably, upgrades some of the components.Interestingly, the result is somewhat similar to Keeley’s Oxblood: he’s turned a supposedly transparent low-gain fave into an addictive rock monster.

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BD-2 Blues driver Mods Discussion in 'Pedal Pushers Forum' started by Lizardkinged, Feb 8, 2011. Lizardkinged Friend. Keeley Blues Driver, less buzzy and thin. Jan 09, 2011  Keeley Blues Driver Mod Page Down toward the bottom of the page Keeley suggests some mods for the Blues Driver. If you want more bass, included are instructions for his Phat Mod. I've done it and it works as advertised.

Find great deals on eBay for keeley blues driver. Shop with confidence. Skip to main content. 1 product rating - Keeley Super Phat Mod Full Range Transparent Overdrive Guitar Effects Pedal. FAST 'N FREE. Guaranteed by Thu, Jan. Free Shipping. Did the keeley mods myself, and it does make a difference. I also use a Bluesbreaker and they both have their uses. Anybody use a Boss BD-2 Blues Driver? I'm also a Keeley modded BD-2 guy. An excellent box. But you're not gonna get 'warm' and 'fuzzy' over it. It's 'true grit.' I think I may buy a Keeley modded TS-9, too. The Keeley Phat Mod of the Boss BD-2 Blues Driver First off, I would like to point out that with the switch up there is a slight increase in bass. Even if you can't really hear it. It isn't very exaggerated. The Boss BD-2 Blues Driver is an extremely popular overdrive pedal, set up as a competitor to the TS9 Tubescreamer. The Keeley Mod upgrades all the components for a warmer, more dynamic tone. An optional secondary Phat mod adds a switch for introducing more bass into the tone.

The Super Phat Mod has controls for Level, Tone and Drive, and a toggle switch for “Flat” or “Phat.”The Tone control is a little more nasal than the Blues Driver’s, but the difference, while discernible, is small.As you turn it clockwise, the Tone control adds some very aggressive upper mids, and accentuates the low end as you turn it counter clockwise.The Phat setting suggests Flat is misnamed; to my ears, Phat added back low end that was otherwise cut in Flat, and the Super Phat Mod’s bass cut in Flat mode is a little more noticeable than the Blues Driver’s.

Using a low-output Tele, I started in Phat mode, rolled the Tone control back a hair and heard my basic clean tone with just a hint of dirt. Advancing Drive to 9:00 and moving Tone to noon gave me a very hairy overdrive with attitude—think The Replacements.With Drive at 2:00 and Tone rolled back to approximately 11:00 I was into early Aerosmith territory—past that, the low end was a little too woofy.

I rolled Drive back to 1:00 and discovered a Tweed-y snarl with an Ampeg-y roundness, and concluded that, in addition to restoring low end, Phat adds compression and pushes the signal more. It’s really most useful at low-gain settings, when the Drive isn’t working hard, or for lending weight to single notes. Drive compresses the signal, accentuating the upper mids but also bringing out attack in the low end, ultimately adding both cut and more muscle.

As I turned to plug in a variety of humbuckers and more powerful single coils, I switched the Super Phat to Flat mode. With the higher output pickups, the Super Phat Mod sounded wiry rather than weedy. As I eased Drive up to noon, I became more and more enamored of the pedal’s distortion and, by the time I had Volume, Tone and Drive at 12:30 I couldn’t turn back. The roar was intoxicating. And kinda British. The nasal attack of the Blues Driver’s tone stack was now a brash, Vox-y clarion call. The slightly anemic character of the Flat mode became the lean, compressed attack of a JCM800 but with a more powerful push that was HiWatt-y in its authority. I couldn’t stop playing power chords. My arm would hover—mid-windmill—as I’d wait for the notes to slowly resolve, each one audible within the halo of harmonics.Interestingly, this setting was equally fulfilling in both bridge and neck positions.

On his site, Keeley talks about looking for chips that provided the right “grain” for this pedal’s drive character, and I totally get it.While the voicing itself manages the enviable trick of being both focused and powerful, the character of the overdrive is so lively and complex that it was genuinely thrilling to me—it popped out of my speakers and lingered in the room.Forget internal charge pumps, forget germanium diodes: the Super Phat Mod has your new secret sauce and, apparently, its Toshiba FETs. Robert, I hope you had the good sense to goop ’em!

What We Like: Thrilling, amp-like distortion that manages to suggest unruly rock ‘n’ roll while maintaining articulation and responding to picking dynamics.

Concerns: Truly “transparent” voicings at lower-gain settings were a little dull to my ears, but the solution was simple: I turned the Super Phat Mod up.

more.. Gear • DIY • Pedal Projects • November 2008 • Boss

The Boss Blues Driver is one of those pedals that everybody has owned or at least played through once. I’d venture to say it’s nearly as popular as the beloved Tube Screamer. While many players like the sound of the stock pedal just fine, many other guitarists like the basic tone but just want it better—more organic, responsive and dynamic. Some feel that there are just way too many high frequencies in the pedal, making it sound brittle, especially with a single coil guitar into a clean, Fender-type amp. Luckily, there are modifications we can do to make the pedal much better.

The Circuit

Larger Image

Before we get into the mods, let’s break down the circuit a bit and see what is going on. Looking at the schematic we see that it is essentially two cascaded discrete opamps, which are then followed by a standard opamp for gain recovery, bass boosting, and buffering of the signal. Of course, this is after it goes through a discrete buffer.
In layman’s terms, a discrete opamp is similar to the IC chip version. It does the same thing, just in a simpler fashion that some feel is more responsive and less “sterile” feeling and sounding. It uses two FETs facing each other followed by a bipolar transistor. There are two of these types of gain stages in the BD-2, controlled by a dual gang 250k pot wired as a variable resistor. Just like the IC opamp circuits, there is a resistor/capacitor pair going to ground that will also help set a frequency to clip. This pair will also help set the gain, though they are fixed values in the BD-2. R31 and C22 are the pair for the first stage, while R15 and C9 are the pair for the second stage.
We know that EQ before clipping determines the clipping feel, tonality, and response (distortion/overdrive) quite dramatically. For example, if we want a fuzzier type of distortion, we want to increase the bass before it is clipped. Then, we clip the signal as much as possible without creating a lot of noise or oscillations.
R31 and C22 in this first gain stage set a frequency of just a hair over 700hz. This is a normal frequency for most overdrives and distortion. If you want more fuzziness, increase this cap to .22uf (microfarad) or larger. If you want a tighter crunchier type of tone, make the cap smaller. If you plug in these values to my calculator at indyguitarist. com/filter.htm you will see the frequencies you can affect.

BD-2 tonestack (left) and Traditional Fender tonestack (right)

After this first gain stage, we go through what first looks like an odd tone filtering stage. It is actually a Fender-type 3-band tonestack with fixed values (with the treble on 0 and the bass and mid on 10). This is a really cool thing to mess with if you want to go hog wild, because you can add trim pots in place of R37 (use a 250k trim pot for treble), R50 (use a 1M trim pot for bass), and R51 (use a 25k trim pot for mids). In addition, you can change the ‘slope’ resistor, R36, to a 33k, C34 and C35 to a .022uf, and change C26 to a 470pf in order to get more of a Marshall type of tonality before the signal is clipped. When you are replacing these resistors with trim pots, just connect one hole to pin 1 on the trim pot, and the remaining resistor hole to pin 2 on the trim pot. Leave the third lug untouched.
The BD-2 EQ before clipping looks like this due to this filter:

Notice how there is a ton of bass present? That is before the majority of the clipping is happening, so it’s no wonder the pedal sounds fuzzy when the gain is turned up!
A good mod at this location is to make R50 a 100 ohm, and change R36 to a 47k. That will give you a much flatter EQ response.

Driver 2 Cars

After that the signal is clipped by diodes connecting to ground (D7, D8, D9, D10) with two diodes on each side and fed into another discrete opamp. This opamp is nearly identical, except the frequency response is a little different. There is more gain in the bass (set by R34 and C24, frequency is about 72hz) but it works exactly the same. Notice that since the bass is boosted yet again here it’s really no surprise that the BD-2 would be so fuzzy with the gain turned up.

Blues Driver Keeley Mod Problems

C17, R25, and C19 form both a highpass and low-pass filter, which will get rid of some high harmonics about 5k or so, as well as to get rid of some of the bass content that was created by boosting the lows so much previously.