The lower gain version of BearFoot’s original
Emerald Green Distortion Machine…by popular demand.
New look, same germanium insides!
LAST BATCH! The Emerald Green Distortion Machine has been discontinued due to lack of available components, and the Emerald Green Overdrive will also need to be discontinued. This is your LAST CHANCE! 🙁
8V-18V to change the headroom.
Shipping fee will be added at checkout for all orders outside of USA.
“Don, this EGOD is perfect. Precisely what I was wishin’ I could get the EGDM to do. I never want its fuzz, but I want its tone. That’s what the EGOD does. It maxes out right at the absolute highest I ever set the EGDM. It goes WAY lower on the gain, which was my dream, and it keeps the exact tone, which was part 2 of my dream. Perfectly executed my good man!”
~ Brian Henneman (Bottle Rockets, Marshall Crenshaw, Uncle Tupelo, Wilco)
The Emerald Green OD takes the EGDM and backs down the gain stages, changes the saturation and compression points, and makes the appropriate EQ changes for the EG to be used more in the overdrive range for the clean-to-medium dirt Vox-type sounds. In fact, the Volume and Drive controls have the same range as the Honey Bee and Model G. And past noon on the Drive control is really more about adding compression and sustain.
Reviews from TGP BearFoot FX Tourbox Participants
1) “Emerald Green Overdrive Machine (Low gain distortion machine) This thing was my favourite, it had an awesome character, great tonal range and the gain can go from low to ripping never getting too mushy/compressed/noisy. I dug this thing quite a lot more than the regular gain version from the last box. Not a transparent thing, but a great flavour like the model H to add to your arsenal.” (Australia, October 2013)
2) “The EGDM Low Gain or as Donner has renamed it the EGOD (Emerald Green Overdrive). Wow, is this just as good as the Model G? This is exactly what I wanted from the original EGDM with my rig. There’s a lot less gain with higher gain settings really just seeming to increase “give” and
compression rather than adding a lot of distortion. The volume doesn’t roll in as fast either which I found much easier to find the settings I wanted (typically a bit above unity). I think the EGDM does a really good job of capturing a type of voxy chime but there’s still a nice thickness & underlying warmth. It’s not as broad sounding as the Model G but it has a great clipping texture.” (Australia, September 2013)
3) “The EGDM LG was my favorite of the bunch (voted above for it). Just has a great little voxy character to it, and sounds good across the gain range. I used to own the EGDM standard, and had WAY to much gain for me. This is more my speed, and can get quite gainy still at the end of the knob. Cool sounding, lots of EQ control. Great pedal.” (USA, December 2013)
4) GEAR: PRS SE with an SD ’59 in the neck and a SD Custom in the bridge, through both a Blues Jr. and a Blues Deluxe
“Emerald Green Overdrive (AKA EGDM Low Gain): Since I liked the EGDM (High Gain) best from the last Tourbox, I figured this one would also appeal to me, but would be unnecessary/redundant. I was half right. It appeals to me, alright…and I want one! Despite its “Low Gain” label, this guy still has plenty of gain on tap. I’d call it a medium gainer that can be dialed back…especially with the help of your guitar’s volume knob. Like its big brother, the EGOD has a fuzz-like quality to it that I love. Also, it’s definitely Vox-y in tone. It offers a lot less volume than the EGDM (unity gain was about 2:00 for me, while the EGDM was at about 10:00!), and it offers less gain, of course. The other controls work the same. There’s plenty of high end/top boost here courtesy of the invaluable Treble knob, along with great bass (if needed) from the Nature knob. I first thought people who wanted a low gain EGDM would be disappointed, but I am guilty of not using my guitar’s volume knob enough…I read a post from ____ referring to that topic, so I gave it a shot! As a result, I found that this pedal can both scream and wind down to a beautiful tone without adjusting the pedal at all. The
magical volume knob of the guitar makes it happen. It sounds particularly great with my neck pup for jazz/light blues-type sounds. Much to my
surprise, I could easily justify having both the EGDM and this, the EGOD.” (USA, September 2013)
5) AMP: Budda Superdrive 18…guitar(s) unknown
“EGOD – With low-output pickups or your volume turned down, this thing does chimey really well. Lots of tonal options with the combination of the tone and voice knobs. Wish I’d had the chance to try this with a cleaner, less chimey amp, because I could see it being the ideal solution for non-vox players looking for a clean-vox chime…let the guitarist in my band who plays an Epiphone Casino into an AC30 play this, set to add just a little hair to the notes, and she loved it.” (USA, December 2013)
TGP Member Reviews
“Just thought I’d drop a short Emerald Green Overdrive review, as I picked one up recently and find that it is one of the most useful Bearfoot ODs that I’ve tried to date.
First off, I run an amp that I designed and built as my main “home” amp , and I am always searching for a good OD to achieve its unique “cranked” sound at moderate volumes. I have some great ODs, but nothing that really captures the pentode style of breakup. My amp runs an EF184 pentode in the front end (think EF86) and a pair of cathode biased 6V6s with a 5R4 rectifier in the power section. Early Vox & some Tweed tones all mixed
together & run into a Weber 15 Watt Silver Bell alnico 12”. This amp produces plenty of chime, grit and texture – and I find that some ODs just don’t have a character of breakup similar enough to the amp’s natural sound to do the amp justice…. A “neutral” OD can sound a little boring with this amp.
I’ve owned a lot of Bearfoot ODs and loved almost all of them for one reason or another, but I have been seeking a specific OD to bring out the
VOXiness of this amp. The Bearfoot Emerald Green Distortion Machine is probably the best I’ve tried for this application, but I did find myself fighting the copious amounts of output and drive that the EGDM had to offer when I was trying to dial in more reserved “edge of breakup” sounds at unity
volume. I sold the EGDM, and figured I’d keep experimenting. I really missed the quality of the EGDM’s distortion though, as it had the grit and “light fuzz” to the character that blended well with my pentode front end & really complimented the amp’s natural character. The Emerald Green OD caught my interest as a possible alternative, as it seemed to be tailored for guys who had experienced the same drive / output issues with the EGDM.
Enter the EGOD:
I can really open the volume up to get the overdrive” breathing” with the Emerald Green OD, and find that I run the OUTPUT between 11:00 to 2:00 depending on the level of DRIVE I’m using. This gets me right around unity volume or just slightly higher… No more fighting the dragon The DRIVE knob is similarly useable, and the taper of the DRIVE pot allows you to explore all of the nuances of the breakup the pedal has to offer.
– – With DRIVE around 9:00 and VOLUME set to taste, you can get some terrific chime with very little grit… Great for driving the preamp a bit with the added bonus of EQ. Great Harmonic enhancer with a little (or a lot) of volume bump if desired.
– – With the DRIVE around 11:00 to Noon you get into a surprisingly warm breakup that starts to take on some Voxy upper-midrange grit.
– – I was blown away by how useful the EGOD’s DRIVE pot is when cranked up above 12:00… Maybe it’s just my amp, but I REALLY find that I can tailor the breakup & compression / density of the OD the pedal creates without getting into a fully saturated type of clipping.
This is EXACTLY the type of overdrive pedal I’ve been looking for, as the gradual introduction of grit & harmonically rich “chime” mimics
almost exactly the way the EF184 pentode in my amp behaves as you crank it up. Even with the DRIVE dimed, you don’t get into a cascaded,
saturated, singing type sustain…. It’s just a hairy, extremely touch sensitive, snarly overdrive that sounds & feels like its got some headroom to spare. Perhaps BJORN and Donner should rename this unit the “Emerald Green Pentode Machine”
Another characteristic difference I hear between the EGDM and EGOD is that the EGOD has a less prominent midrange, again probably due to the overall lower gain. It’s not exactly FLAT in the mids, and it definitely has a British character, but it’s a genteler “push” in those frequencies than I got with my EGDM (which had a VERY forward midrange). I think this feature makes the EQ controls a little more useful for me.
So, on to the EQ section. The VOICE potentiometer operates just like the EGDM VOICE pot as I remember it. It’s a very useful knob, and I tend to view it as a pot which sets the center frequency of the “Q” for the low end response of the pedal (to use a parametric EQ analogy). I tend to hang out in the 10:00 to 11:00 range, as I find that this realm best matches the low frequency response of my Weber Silver Bell 12”…. There is a lot of flexibility here for those who want to change the character of their amplifier and use the EGOD as an “amp in a box” type drive for emulating certain sounds.
The TREBLE knob on the EGOD is another feature which I find that I vastly prefer over the function of the equivalent knob on the EGDM. With the EGDM, I was always dialing the TREBLE pot trying to trim off the high frequency “hash” that the higher levels of distortion & output tended to
introduce. I rarely ran the treble pot past 10:00. Don’t get me wrong, the distortion of the EGDM was beautifully rich and juicy….
But the high frequencies were quite strong through my AC30 and through this amp.
The EGOD, however, possesses a naturally warmer, less abrasive breakup. As a result, I tend to run the TREBLE around 1:00 and find that I use the TREBLE pot more like a traditional TONE knob rather than like a CUT knob on an AC30 (as I used it on the EGDM). This makes for a very useful
addition to the Low & Low mid shaping abilities of the VOICE pot… You can emulate the response & tonality of different types & sizes of speakers & cabs by experimenting with the EQ combinations here. And again, I am able to mimic almost exactly the natural breakup of my pentode preamp & 6V6s cooking running into my 12” alnico.
The EGOD (like most Bearfoot boxes I’ve tried) stacks like a charm, and you can get some great recipes going if higher gain is what you seek. IMO, a Red Rooster Booster #3 before OR after the EGOD is the recipe for some terrific high gain OD tones, and I prefer this two-pedal setup to my old EGDM.
The last, and maybe the coolest, feature of the EGOD is its clean-up at the guitar volume pot. While there are a lot of ODs that offer nice clean up when backing down the volume, many don’t cop the same effect of rolling back the GAIN on the pedal when doing so. The EGOD does a really great job of sounding just like I’m rolling the pedal’s GAIN back, so I can just set the pedal up for the maximum amount of dirt I want and adjust my volume to taste when playing rhythm.
For those looking for a Vox voiced pedal to push a very neutral, clean, Fendery amp into overdrive with gain to spare, the EGDM is probably your best bet. However, if you have an amp that already possesses a Voxy, gritty breakup that you like to run “on the verge” and you are looking for a pedal to give you what you already have plus more, the EGOD is a terrific your favorite amp has an EF86 (or similar) front end, just buy an EGOD.
Great job, Don & Bjorn.” (USA, October 2014)