MusicRadar Verdict
This Rooster will certainly wake up your amp in a vintage-inspired fashion.
Pros
- +
Rangemaster-style sound with extra tonal options, thanks to the frequency switch. Well-made.
Cons
- -
Not much.
MusicRadar's got your back
The Rooster from Greek effects firm is a treble booster inspired by the Dallas Rangemaster, used by Rory Gallagher, Brian May, Tony Iommi and, perhaps most famously, by Eric Clapton on the Bluesbreakers' 'Beano' album.
"The Rooster will excite the top-end frequencies of an overdriven amp"
JAM has strived to get the vintage sound right by calling on the services of the CV7003 transistor - the original Rangemasters also made use of the OC44.
As well as a knob to dial in the amount of boost, starting with unity gain at about 12 o'clock, you get a three-position switch that focuses the frequency range of the boost.
The bass setting is more of a full-range fat- sounding boost, while treble loses some bottom for a brighter presence, and mid is between the two.
Whatever setting of the switch, the Rooster will excite the top-end frequencies of an overdriven amp, bring out the harmonics and send sustained notes into singing feedback.
Trevor Curwen has played guitar for several decades – he's also mimed it on the UK's Top of the Pops. Much of his working life, though, has been spent behind the mixing desk, during which time he has built up a solid collection of the guitars, amps and pedals needed to cover just about any studio session. He writes pedal reviews for Guitarist and has contributed to Total Guitar, MusicRadar and Future Music among others.
“Its provides the mix ‘glue’ that makes everything sound cohesive and finished”: Here's how to compress your mix bus for sonic punch
“I remember thinking: ‘Wouldn’t it be great if I could ask Sting to sing that line?’ Suddenly someone said: ‘Sting’s here on holiday! He’s on the beach!’” How Mark Knopfler got lucky with Money For Nothing
“I got to jam with Stevie Wonder. Just me and him, one afternoon. We each had a keyboard and we were just trading riffs and jamming together and it was like, ‘Wow’”: Howard Jones talks vintage gear, his new piano album and that 1985 Grammys synth medley