The pointers work like in a clock – let some light (or UV) shine on them and they store that energy and glow.
Very few items have serial numbers. Some older devices like the Sound Studios 1/1X and the last limited special edition of the ODR-1 Ltd. Most numbers, e.g. on base plates, indicate versions or are EAN numbers on the packaging.
Here we have set up a separate section under History. Here you will find a lot of interesting milestones.
The current pedals (ODR-1 from 2020 with Bass Cut / ODR-1 Ltd and ODR-mini) can be operated with a DC voltage of 9-18 volts. Older ODR-1 without bass cut switch only from 9-12 volts DC.
Always pay attention to the polarity and voltage!
A higher operating voltage allows the sound to have a little more headroom and thus a little more transparency. This is of course a matter of taste and not always desirable. Even a very low voltage (dying battery) is sometimes appealing. Here you get almost sounds like a FUZZ.
Many popular overdrives used a simple adjustable filter for the high frequencies. It was called “Tone” or “Treble” and really just reduced the high frequencies added by the overdrive electronics. Of course, this greatly limits the variety of sounds and possibilities.
After much sound testing, Kai Tachibana developed what was then, and we still believe, the unique double filter control called “Spectrum”. Not only the usual highs are raised or lowered, but also the lower mids/bass (~300 Hz). In the 12 o’clock position the sound is almost neutral. Turning the control counter-clockwise minimizes the treble and bass. Raised clockwise.
This allows a variety of EQ settings with just one knob.
The ODR-mini a little bit tighter than is big brother and have a different frequency range in the bass.
But the DNA is the same and the basic sound very close.
You will find some demos at our YouTube cannel.
Nobels YouTube Channel – click here
A true bypass was often requested for the ODR Overdrive and we have implemented this wish in the ODR-mini.
A true bypass pedal allows the tone and signal of your guitar to flow through unaffected when the pedal is off. This means that all the tone of your guitar is preserved – the pedal does not colour it at all when it’s not being used.
However, due to the fact the true bypass pedal does nothing to boost or enhance the signal, the more pedals you have and the longer the signal cable from board to Amp/Instrument (over 18.5ft), the more degradation and tone loss will occur. This is great for tone snobs and those who use smaller length cables.
It all has its pros and cons.
It’s also a question of manufacturing costs. A buffered bypass is significantly more expensive in terms of effort.