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[Performance Guitar] Parts

TTL (Top of The Line) Frame of Mind:
As the AMG of Mercedes and M Series of BMW, TTL aims to be the superior modder of BOSS effectors for enthusiasts. The name, “Top of The Line,” is our oath to excel and to continue to produce top-quality products.
Which product should be modified, converted, and improved? Numerous products in the market were tested and inspected. Among these products, BOSS products were found to have the key factors of quality, durability, and consistency. The search was over.

“All for Sound”, “Sound for All” Concept:
Products in the market are generally well-made to the extent and limitation of mass production dilemma. Cost factor limits the design with major constraints and prohibitions.
TTL’s products remove this consideration for cost altogether. By capitalizing on this, an extraordinary dream like approach of development was made possible. If the modification improved the sound quality in the slightest, it was done. This included everything from adding extra enhancement circuits to removing unnecessary ones, and this bi-poplar approach was taken by our modifications.

“Regarding the Parts Used:
Two fundamental philosophies underlie all modifications and improvements here at TTL. First, that of the fundamental logical properties of parts based upon Material Engineering. Only the best, hand selected parts that passed rigorous testing were used. Secondly, a harder field to quantify that is not established within Audio Engineering (as in Overdrive and Distortion) has been checked and approved by the greatest of all measuring instruments, the human ear. Ultimately, every modification at TTL is conducted to ensure the “all for Sound” concept.
JUMBO  FOOT  FZ851 (This Pedal is played by Dweezil Zappa for current tour 2010 "Zappa play Zappa" )
BD-2 Blues Driver
Characteristics of the Original:
The original BD-2 incorporates multiple stages of complex filter circuits to create the overdriven sound, while employing a tube-amp-like tone control. In addition, two stages of discrete circuit amps are incorporated without using any op-amps, and their gain is cleverly utilized to produce a warm, Bluesy sound.

What has been Modified and Improved:
For this modification, many aspects were taken into consideration to make the sound more discrete and definitive, whilst maintaining the unique overdriven feel of the BD-2. Premium parts were used without hesitation for the slightest improvements to create an optimal combination of overall frequency response, dynamic range, and overdrive. The compression feel when turning down the volume of the guitar has been decreased, while the second harmonic has been strengthened. As a result, the dynamic range at low volume has been broadened and the crunch sound has become more vivid, expressing the picking nuances as if it were a great tube amp. With the added switch in down position, the frequency characteristic is closer to that of the original, while enhancing the dynamic and frequency range with more definitive sound. With the switch in the up position, the sound becomes far richer: the gain rises, the sweet and smooth overdrive is enhanced, and the picking nuance is much more expressive. The popular sound of the original unit has been kicked up to another dimension.
DS-1 Distortion
Original Characteristics:
The original DS-1 has a simple, yet well designed circuitry. It has the right amount of gain and the symmetrical distortion produced by diodes.

What has been Modified and Improved:
The input impedance has been changed to the tube amp standard of 1MΩ. Improvements have been made in the area of picking nuance, quicker response time, and overall sound definition. The even harmonics, especially the second harmonic, have been emphasized to recreate the sound of a fully-driven tube pre-amp. This resulted in the thin sound becoming eliminated completely and the overall sound becoming much richer. The gain factor has been re-evaluated at various frequencies to achieve great distortion, even with a single coil pick up. With respect to the original design principle, no switches were added and overall modifications were kept simple.
SD-1 Super OverDrive
SD-1 Super OverDrive
Characteristics of the Original:
SD-1 carries on the legendary asymmetrical overdrive circuit of the OD-1, while adding its own warmth and character to the sound. It also has additional tone control, not available in the OD-1, making it easier to shape the sound. The only drawback to this effector is the loss of low frequencies when it is turned on. This was likely a recognized problem during development, but was ignored favor of character.

What has been Modified and Improved
In the most basic modification, the input impedance has been changed to the tube amp standard of 1M?. The original sound characteristic of asymmetrical overdrive has been preserved; however the overall circuit and the tone control function have been re-evaluated and modified to create a natural, smooth overdrive. The result is an overdrive with superior response, broad dynamic, range, and with a discrete edge.
With the added switch in the down position, the frequency characteristics become similar to that of the original, but with a higher gain and a wider frequency range. Once the switch is toggled to the up position, the picking nuances become much more expressive with the fattened Lows and extended Highs. At this position, the problem of thin sounding low of the stock model has been solved.
CH-1 Super Chorus
CH-1 Super Chorus
Characteristics of the Original:
Say Chorus, and Boss comes to mind. As the legendary CE-1 symbolizes, BOSS, the original creator of the chorus effector, has created numerous master pieces. Roland brand JC-120, which incorporates this, has also become a standard line-up for studios. To summarize the characteristics of the CH-1, it is a clean, crispy chorus effector as opposed to the predecessors that failed to produce the high frequency spectrum well, due to technical limitations. The CH-1 overcame these difficulties and created a chorus sound that ranges the full frequency spectrum.

What has been Modified and Improved
One of the typical setbacks for the chorus effector is that the volume decreases at lower frequencies. This is caused by the phase shift, resulting from the chorus effector mixing dry sound and wet sound electronically. It is similar to the problem occurring when cross-wiring one of the stereo speakers and the output becomes out of phase.
With the newly added switch toggled to the right, sound becomes richer with solid fundamentals becoming more apparent. Along with this, sufficient chorus effect is placed on the harmonics to achieve a thick but crispy sound. This position is recommended for the standard mono output (Output A) setup.
With the switch toggled to the left, the chorus effect kicks in for the lower frequencies as well. This position should be used for stereo setup where both Output A and Output B are used. Due to the chorus effect evident in the lower frequencies, the aforementioned phase shift occurs. However, the Wet and Dry sound are acoustically mixed in space rather than electronically, resulting in a beautifully deep chorus sound.
In addition, improvements have been made to create a more discrete sound, achieving a clearer individual and overall sound definition even with the chorus effect running.
MT-2  Metal Zone
MT-2 Metal Zone
Characteristics of the Original:
The MT-2 boasts the highest gain of all BOSS compact series effectors in the market today. Many stages of highly complicated filter circuitries have been incorporated to recreate the sound of British Stack Amps. Also, the mid ranges tone control has been parameterized to accommodate for a wide range of sound creation. The overdrive sound was engineered to replicate the symmetrical overdrive of the British Stack Amps power amp stage. On the contrary to its name, the MT-2 is used not only for heavy metal music, but in various genres of music as well, making it a very popular effector worldwide.

What has been Modified and Improved
For this modification, an additional level of overdrive has been incorporated at the pre-amp stage to create and even heavier overdrive. The newly added switch allows for selection of balance between the types of overdrive to its compression feel for optimal delivery of delicate picking nuances.
The maximum amplitude of the tone control has been increased to allow for ultra heavy Lows, more vibrant Mids, and bright, crispy Highs to accommodate for a wide variety of genres. The enhanced dynamism of the Low, especially, takes this effector into a new dimension.
Many parts have been replaced for this modification, contributing to an overall sound improvement, especially in the dynamic range and depth of overdrive. This resulted in a wholesome improvement of Metal Zones trade mark deep Lows to bright Highs, allowing the guitarist to more deeply express themselves.
With the additional switch toggled to the left, the overdrive will be closer to that of the original, with the distortion coming from the overdriven power amp. When toggled to the right, an additional layer of overdrive is added at the pre-amp stage, emphasizing the second harmonic distortion. At the center position, an extremely wild, but controlled overdrive is achieved for better expression of picking nuances. With the improvements to the sound definition, the frequency response feels much wider. The sound that was already popular with the original now has gained an expressive edge.
GE-7 Equalizer
GE-7 Equalizer
Characteristics of the Original:
The GE-7 is a popular and easy to use Graphic Equalizer that crams 8 sliders (7 bands and 1 level) on its compact body. When compared to standard audio equalizers that center its frequency at 1 kHz, the GE-7 centers its frequency at 800Hz with musical instruments in mind.

What has been Modified and Improved:
A common complaint of the Graphic Equalizer is that the boost/cut of +/ -15dB in a short 20mm slider does not allow for fine adjustments. To overcome this issue, a switch has been added to enable the selection between +/-15dB and +/-10dB mode. For general use, the 10dB mode should be used for the ease of control, but once the need arises, the 15dB mode can be selected.
GE-7 houses an Emphasis circuit for noise reduction. When the value of this Emphasis is increased, the dynamic range at high frequencies decrease, therefore the stock GE-7 is designed with ample headroom to compensate for this issue.
In the modified GE-7 the balance of dynamic range the noise reduction has been re-evaluated through numerous testing, and an optimum Emphasis level has been selected to keep noise at a minimum.Necessary parts were replaced with premier audio parts to improve on the overall sound quality and its definition.
GEB-7 Bass Equalizer
Characteristics of the Original: The GEB-7 is a popular and easy to use Graphic Equalizer that crams 8 sliders (7 bands and 1 level) on its compact body. When compared to standard audio equalizers that center its frequency at 1 kHz and divides the bandwidth evenly, the GEB-7 centers its frequency around 500Hz with sliders assigned unevenly to specific frequencies, tailoring to the needs of bassists.

What has been Modified and Improved:
Two of the most common issues with this effector were the polar opposite of each other. On one hand, a complaint was made that the boost/cut of +/- 15dB in a short 20mm slider does not allow for fine adjustments. On the other, many of the bassists requested for more gain than the original 15dB. To concurrently solve this issue, a switch has been added to enable the selection between a boosted +/- 18 dB mode and a more delicate +/- 10dB mode. For general use, the boosted 18dB mode is recommended for its wild sound, but when a more delicate conrol is necessary, the 10dB mode can be selected. This allows the bassist to choose what he needs when he needs it. GEB-7 houses an "Emphasis" circuit for noise reduction. When the value of this "Emphasis" is increased, the dynamic range at high frequencies decrease, therefore the stock GEB-7 is designed with ample headroom to compensate for this issue. In the modified GEB-7, the balance of dynamic range the noise reduction has been re-evaluated through numerous testing, and an optimum "Emphasis" level has been selected to keep noise at a minimum. Necessary parts were replaced with premier audio parts to improve on the overall sound quality and its definition.
DI-1 Direct Box
DI-10 Direct Box

Originally this direct box was made for the professional recording at Hollywood area
back in early ’80.
Since then many musicians ( like Frank Zappa ) used this direct box for their stage performance and recording.
It is a really high quality and easy to use for any occasion and for everyone.

The function of the Direct Box can be summarized as a buffer box processing high impedance signal into balanced low impedance signal.
Traditionally, buffer circuitry is made with a combination of FET, Bipolar Transistor, Op-amp, and other elements that each has its own strengths and weaknesses.   This unit capitalized on each element’s strengths and, through TTL’s experience and knowledge, the optimal combination has been selected.
In order to eliminate the impact of the load factor, the initial stage buffer circuit was designed with a special, custom circuit.  The elements being used for balance circuit is evaluated by sound quality, slew rate, power bandwidth,  power consumption, noise figure, and many other audible sound and electronic characteristics in order to make this circuit perform at its optimum level.
The red LED indicates the inner battery is used, on the other hand the green LED indicates the power is supplied from phantom power supply.
The pad switch gives you two choices to fit the input signal level. When the switch sets to the normal 0dB position, the input impedance is 1M ohms and we recommend to be used this position for Guitars, Basses, and most of other instruments that is used magnetic pick up mics. 
The -20dB position is selected in case of you hear distortion cause of large output instrument, such as synthesizer, elec. piano, etc.  is connected into the input.  The input impedance becomes automatically 50K ohms for best matching to the input signal.


This modification involved replacement of parts affecting the overall sound quality and its definition, as well as lowering the cutoff frequency by more than one octave.  Especially effective for 5 and 6 string basses, the low string note has been enhanced while simultaneously adding the expressive edge to slap sound and high strings.

The TTL preamp has very clear, warm bottom and also each control has very wide gain adjustable. The basic concept of this preamp was made for recording in the first place. But we recognized it also works good for the live play. When you use the Mid. range control, it never spoil the sound of other frequencies ( bass side or treble side ) The TTL preamp will give you more variable tone and create more sweet spot into your bass.

Bass 60Hz +-24db / Middle 450Hz +- 16db / Treble 6kHz +-24db

This preamp has Live/Recording mode switch. It is making hi-quality active sound for Live mode and on the other hand more smooth tone for Recording mode. The idea of Recording mode is to help you to create the better sound that you want at the recording.( Have you ever experienced to feel the difference of the sound when you played at live and recording ? ) When you use the Recording mode, the pickup out put signal comes with equal level for the all Frequencies. ( You can get the sound exactly what you want !! ) A full electric power that pickups make provides you the more powerful and smooth sounds from top to the bottom. If you play single coil P.U. bass, The TTL preamp will give you the taste of the passive P.U. sound or hum-backing P.U. sound into your bass.
FZ-85( F.Zappa Filter Modulation)
There’s an early ’80, Frank Zappa wanted special his own sound. Frank and we collaborate each other to make special effect for Frank. It control and emphasize the particular frequency. This effects pedal has 3 mode select SW. There are low pass mode, band pass mode, high pass mode.

*Low pass mode position cut the higher frequency above the frequency you set up.
*Band pass mode position cut the frequency without the frequency you set up.
*High pass mode position cut the lower frequency below the frequency you set up.

And then you can set up the frequency that you want to make it peak point with “F” control knob. And also you can set up the resonant peak with “Q” control knob. For example, you can have the sound like an eccentric “Wah Wah” with moving the “F” control knob. This effects pedal is different from other effects pedals. Because this effects pedal boosts up the inner voltage. That’s why this effects pedal can get wider dynamic range and works more extremely. You can’t find any other effects pedal like this. You can get this sound only from this one. Frank couldn’t make his sound without this effects pedal. Now this effects is used by Dweezil Zappa ,Steve-Vai, Warren-Cuccurullo and many more musicians and they Loved it !!
The Performance PG-50 guitar pickup is similar to the classic PAF sound but with more power. It maintains that vintage vibe but allows for more aggression and crunch when you need it. The PG-50 uses special alnico magnets and 15% more winding the vintage wire than the original PAF pickups. It provides a broader range of tonal colors, character and bite.
Big Block for Floyd Rose
We met Floyd Rose users who felt that the installation of the locking tremolo system made their guitars sound thinner. We decided to go to work to figure out a way to achieve a fatter, thicker sound with better sustain. We began to work on this in early 1990 and found a material called “Bell Metal.” This is the same type of metal used in the building of church bells.
Attaching a block of church bell metal to the bottom of the tremolo system gives the entire guitar more warmth, bite and sustain. Guitarists who tried this modification noticed a dramatic difference right away.

The Performance PG-10 guitar pickup is similar to the traditional Fender 50’s style pickup.
The original Fender design was staggered to be compatible with string gauges starting at .013.  This was the popular string gauge in the 1950’s.
We slightly modified the basic design of the Fender 50’s style pickup to better suit lower string gauges staring at .009~.011 used by contemporary players. 
We also made the middle pickup reverse wound/reverse polarity so you could get hum canceling options in the 2 and 4 positions.

Performance T-Shirts

Color : Black, White
Size : S / M / L / XL

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