The Naga Viper MKII Boost Pedal -- Brian May, Eric Clapton, Tony Iommi, and others pioneered the use of the treble booster, more specifically the Dallas Rangemaster. One thing that made this circuit such an anomaly in effects canon was its lack of foot control; the Rangemaster was an amp-top device with a teeny-tiny toggle switch that was an absolute pain to disengage mid-riff.

Of course, back in 1966 when it was invented, "pedals" as they are today didn't exist yet. For those players, their rig consisted of amp, Rangemaster and guitar. All of these players found that the Rangemaster really came to life when it fed an already cranked amp, and indeed, the sound of Rangemaster-into-redlined-amp is instantly recognizable to its devotees.

In today's modern landscape though, things aren't always nearly that simple. Some players run any combination of effects into their amp, with some players having multiple "always-on" pedals careening into the treble booster. Now equipped with a foot-operated bypass switch, the humble treble booster may still hit a cranked amp but oftentimes it does so with the backing of multiple gain devices feeding it. For some players, this works. For many, this arrangement loses sight of what a treble booster actually does and what it adds to a rig.

This version of the Naga Viper fixes this problem by adding an attenuator knob. This control acts like a level control for everything in front of the Naga Viper, letting you shave some heat from the incoming… read more signal before it runs through the proverbial gears of the booster. This leads to less saturation and undesirable effects and more treble-boosting goodness going into your amp.

The transistor in the Naga Viper has also been replaced and the circuit tastefully reworked to accommodate players of all stripes. Some players will leave the Attenuate control all the way up, and this design choice is for them. By swapping out the transistor, the Naga Viper is even hotter than before, with extended ranges for both Heat and Boost controls. Diming both controls now gives a slight edge compared to V1, opening up the range of the attenuator as well.

Input attenuation control: Lets the sound of the treble booster breathe without slamming the front end with gain. This control shunts incoming signal to ground, essentially acting as a volume control for anything running into the Naga Viper. This allows for cleaner boosting without saturating the circuit.

Higher gain transistor: Personally, I despise controls that require you to keep them all the way up, like most input attenuator controls. Swapping the transistor out for a higher gain part ensures that the new Naga Viper core plays nice with the attenuator and everything before it.

Noise floor efforts: Treble booster circuits are inherently noisy by design, and some people consider this noise to be part of the sound, the "warts and all" approach if you will. Efforts have been made to lessen power supply noise while keeping the noise inherent to the design.

Features:

- Attenuator knob that acts as level control for everything in front of the Naga Viper
- Shave some heat from the incoming signal from the front of your chain
- Get less saturation and more control over undesirable effects
- High gain transistor

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