Free The Tone Custom
Free The Tone Custom, as the custom shop of Providence, handles original "Free The Tone" products created through our own research and development, as well as custom-made products ordered by our clients. These products are sold only through select stores.


This is a super fat, natural sounding overdrive that has been designed so that the tone doesn't get top heavy when the effect is switched on.
Phase problems associated with active EQ circuits have been avoided by employing a passive EQ that cuts more high end as the control is rotated clockwise, with the same type of natural response as a guitar's tone control. A 9-volt version of our unique VITALIZER circuit (NATURAL type) is used as the input stage, and remains active when the effect is switched off. The characteristics of the VITALIZER circuit automatically adjust to match the guitar's output circuitry, allowing full transmission of the guitar's natural tone without degradation or loss.

Power supply: 006P 9V battery or AC adapter (DC9V)
Background & Development：
The SONIC DRIVE 2 was conceived in cooperation with popular singer, songwriter, and producer Tamio Okuda. After we had completed a custom pedal board for Tamio, he asked us whether we could also create a fat, natural sounding overdrive. He tried out the Providence PFX-2 SONIC DRIVE, but it wasn't quite the sound he was looking for. Having just completed an effect rig for Tamio we understood the kind of tone he needed, so we proceeded to design circuitry that would deliver the required sound.
Numerous prototypes were built and listening tests repeated as we gradually approached the sound we were after. It was during this process that the 9-volt version of our VITALIZER circuit was born. We found that the VITALIZER was essential to achieving overdrive that allowed the full tonal characteristics of the guitar to come through. With the SONIC DRIVE 2 you can hear the difference immediately: plug in a Stratocaster and you have an overdriven Stratocaster sound; plug in a Les Paul and you have an overdriven Les Paul sound. For even further refinement the SONIC DRIVE 2 features a passive tone circuit that has been carefully tuned to allow smooth, natural sounding tone control without adding unpleasant peaks and harmonics. Tamio was delighted with the sample unit he tested, and has been using it with no further modifications ever since.



AThe QUAD-ARROW DISTORTION is powered by an AC 9-volt adapter, but the voltage is increased internally to deliver wild, powerful distortion effects.
The effect follows the guitar's output in a natural way, going from distortion to crunchy or clean as the guitar's volume is turned down. It responds to picking nuances in the same way. TREBLE and BASS tone controls are provided to allow a wide range of tonal adjustment.

Power supply: Dedicated AC adapter supplied (AC9V).
Background & Development：
While working in the lab and listening to a Van Halen album I was impressed by the way Eddie could create a variety of sounds by adjusting the volume control on his guitar. The more I listened the more impressed I became, and I decided that I wanted to create a distortion effect that would get crunchy or clean when the guitar’s volume is turned down, and deliver full distortion when the volume is turned up. At the same time the distortion would have to be bright without being too heavy, and it would have to deliver the required performance with any amplifier - even a small practice amp! In short, I had decided to make an effect pedal that would deliver tube amp sound.
It wasn't easy. Achieving tube amp type distortion that responds naturally to guitar volume in an effect pedal is something many pursue but few achieve, and development was dragging on. Then one day I realized that the 9-volt power supply was the root of my problems, causing too much compression and robbing the sound of it's edge. At that point the design approach shifted from "effect pedal" to "preamplifier," and a ±15V power supply of the type used to achieve maximum dynamic range in our VANDAL BASS DISTORTION was used instead. After adding a bit more "special" technology, the sound I had envisioned finally became a reality. It took a very long time to create the QUAD-ARROW DISTORTION, but we believe you'll appreciate the difference.

Kazuya Motojima of Israel's alternative rock band "Guidance" discusses the QUAD-ARROW DISTORTION

"I am particularly impressed with the wide-range adjustment provided by the BASS and TREBLE controls on the QUAD-ARROW DISTORTION (abbreviated as "QAD" below). The fact that the control range is perfectly suited to the guitar's role in an ensemble is outstanding as well."
"Players like me who use drop tuning (low Db or low B) usually want to boost the bass a bit, and with the QAD you can set the bass level quite high without getting in the bassist's way. The core of the low string sound is fully retained. The TREBLE control has a beautifully tight, dry character, and it can be used to achieve excellent projection in a band setting even when the bass is boosted. This distortion pedal offers extraordinary range, from dark tones to the type of tight rhythm used in mellow core and punk styles."
Quad-Arrow Distortion Sound Sample by Kazuya Motojima

Gear & Settings
Amp: Bogner Uberschall, ch1, clean
Speaker: Bogner 1x12 with Eminence Tonker
Speaker Cable: Providence SP602
Microphone: Sennheiser e609
DAW: Digital performer5.12(interface896)
Guitar: Art Tech custom strat with original humbacker
Guitar Cable: Providence S102
Patch Cable: Providence P203(when FINAL BOOSTER used）

QAD Backing Settings: L 11:00, B 2:00, T 10:00, G 2:00
QAD Solo Settings: L 11:00, B 2:00, T 10:00, G 3:00 -> FINAL BOOSTER 9:00+ -> Amp


The SOV-2 OVERDRIVE inherits the circuitry and sound of the SOV-1, delivering refined performance in a compact pedal. Its overdrive is thick, wide-range, and remarkably natural, effectively expanding the guitar's inherent tone. This is an extremely expressive overdrive that fully retains the player's picking nuances.

Note: Power consumption is high (approx. 80mA/DC9V), so the use of an AC adapter is recommended.

Power supply: 006P 9V battery or AC adapter (DC9V)
Background & Development：
The background of the SOV-2 begins with the original SOV-1. The SOV-1 used no vacuum tubes, but as a result of many years of development it successfully achieved the soft distortion and dynamics that are characteristics of the best tube amplifiers.
We received numerous requests from the SOV-1 users around the world for a smaller, lighter version that would run on batteries or an AC adapter.
In order to realize the requested modifications without compromising on sound quality it was necessary to reconsider the power supply. The original SOV-1 was AC powered and employed a precision power supply circuit of the type used in recording equipment. The sound of the original SOV-1 was to a large degree dependent on an exceptionally clean, stable power supply. It would be physically impossible to use the same power supply in a compact version, so a new circuit had to be developed from scratch. We decided to use a high-performance (and very expensive) DC-DC converter to deliver the ±15V power required by the original SOV-1 signal circuitry. A highly efficient filter was designed and implemented to prevent the converter's oscillator from interfering with the audio signal. The signal lines were also laid out with extreme care in order to optimize the unit's sound. What we have just described in a few sentences actually took several years to achieve, but the results in the SOV-2 are totally satisfying.
The SOV-2 is unique. It is an ideal match for Marshall, Fender, and a wide range of high-end and boutique guitar amplifiers. We sincerely hope that players will make it a part of their music: nothing could be more gratifying for a guitar effect designer.
SOV-2 Sound Sample

Gear & Settings
Guitar: Gibson ES-335 79' RearPickup(PAF)
Cable: Pete Cornish
SOV-2:
First half : Vol/12:00,Tone/2:00,Gain/9:00
Second half：Vol/Max,Tone/2:00 Gain/9:00
AMP:Matchless HC-85: CH2 Vol/12:00,Tone/12:00 no cut no master
Speaker: EMINENCE Governor
Mic: Sure SM-57
MicPre: Focusrite EQ：BYPASS


The HEAT BLASTER delivers a truly modern distortion sound, with a tone control plus high-cut and low-cut switches for additional tonal adjustment.
The high-cut switch attenuates the presence frequencies in order to produce a mellow tone that retains good projection. With the high-cut switch engaged you can use the tone control to achieve the required degree of projection. This type of setting is ideal for solos. The low-cut switch attenuates the low frequencies, making it easy to attain an ideal blend with bass and drums for a well-balanced band sound. The low-cut switch affects low frequencies that normally cannot be adjusted using amplifier tone controls.

Power supply: 006P 9V battery or AC adapter (DC9V)
Background & Development：
One morning I awoke with a great distortion sound in my mind. The sound was surprisingly distinct and clear, and similar to that of a modern high-gain tube amp. The HEAT BLASTER was born from the sonic image I awoke with that morning. But I had to get to work immediately in order to turn the mental image into actual sound before it changed or faded away. It was a race against time. I began mentally designing the circuitry on my way to the lab, and was ready to start building by the time I got there. All previous plans and appointments for that day were postponed while I set to work, and after about 6 hours of non-stop prototyping and testing I had a sample that delivered the required sound (definitely a speed record). The sound was almost exactly as I had imagined it. But that was all I could do in one day. I was exhausted. But I had my circuit, even though at that point it was nothing more than a bunch of parts directly soldered together... looking more like a jungle gym than a guitar effect. The following day the circuit was carefully installed in an enclosure so as not to alter the sound, and with a few more tweaks became the template for the HEAT BLASTER. My imagined sound was sort of "orange," so the HEAT BLASTER enclosure is orange as well.


This is a full-range booster that will not degrade the highs and lows of your guitar signal. The input stage features our VITALIZER circuit to ensure that the inherent characteristics of your guitar or bass come through in full.
The FINAL BOOSTER uses a single-contact true-bypass on/off circuit so that both the VITALIZER and booster circuit are bypassed when the effect is turned off.
Anticipating use with bass guitars, care has been taken to ensure that no phase reversal occurs when the effect is switched on or off. Boosters that employ a single-FET circuit cause the phase of the signal to reverse when switched on, and this can cause the sound to drop in level or “recede.” The FINAL BOOSTER does not have this problem.

Power supply: 006P 9V battery or AC adapter (DC9V)
Background & Development：
The FINAL BOOSTER is based on the Providence PD-3 BUFFER/BOOSTER, which is why its model number is PD-6. The original PD-3 used discrete transistor circuitry with no ICs, resulting in fat, solid sound. The design also suppressed annoying high-frequency harmonics, which produced a mellow tone that some players found wanting in high end "sparkle." The FINAL BOOSTER circuitry was redesigned to allow the natural high-end harmonics to come through in full. In fact, the luster of the strings is enhanced slightly as the boost level is increased. If there is sufficient headroom in the amp being used the FINAL BOOSTER can be connected directly to the amplifier's input and used for straight volume boost. If you're using a tube amp it can be used for drive boost. The reason for the "FINAL BOOSTER" naming should now be clear... it will normally be the last pedal connected in an effect chain. Of course you could also connect it before an overdrive pedal in order to clip the overdrive input stage and create new distortion effects, for example. Another refinement is that the VITALIZER circuit has been specially tuned to minimize tonal changes when the boost is switched on or off.
The first production FINAL BOOSTER - still bearing the PD-6 model number at this point - was built into a pedal board for Atsushi Horie of alternative rock band "Straightener."
A booster is essentially nothing more than volume-increasing device, but in actual use it goes much deeper than that. Different sonic nuances can be achieved by connecting it in different ways. Using it in combination with overdrive or distortion pedals can produce some really interesting new effects. With a little ingenuity and trial-and-error testing it can be a source of unexpected new sounds.


Providence is a brand that focuses on improving the audio signal which forms the basics of sound. This thinking is continuously reflected in our development and manufacturing of sound systems and effectors, as well as cables and other musical equipment which has enabled huge advances in the sound environment in which musicians perform today.
The Vitalizer created by Providence is neither a buffer, a booster or for that matter, a preamplifier. Rather it is a unique circuit that converts the signal to a low impedance level to transmit a stronger signal without embellishing or amplifying the original sound.
The Vitalizer emits a strong signal that provides maximum protection from signal deterioration while it is being transmitted through effectors or long cables. Thus, whether you're performing in a large, dome-class concert venue or a small-scale live house, no matter how much the scale of the musical environment changes, the Vitalizer enables you to perform using the same guitar system, without altering the settings of the amplifier and effectors you use everyday.
Whether it's for recording sessions that require rendering of subtle nuances, for concerts that require conveying a crisp, well-modulated sound over great distances without signal loss, or other such events, the Vitalizer is fast becoming a necessity for top-professionals in today's musical world.
The Vitalizer is a totally new type of effect unit that eliminates the problems encountered when using volume or wow pedals. Many players want to use a volume pedal, for example, but have had to give up on the idea because of the sound quality degradation the pedal causes. Others simply put up with reduced sound quality because the pedal is essential to their style. Some find a volume pedal that doesn't affect the sound quality too much, but aren't comfortable with the pedal's feel or response. The obstacles are many and varied, but the Vitalizer provides an elegant solution.
Simply connect a pedal you're already familiar with to the Vitalizer and experience a remarkable change: no level loss, no signal degradation ... sound that was once muffled and constricted becomes clear and open. And that quality is maintained even when you use the pedal to reduce the volume. The Vitalizer is also an excellent choice for use with wow pedals. The improved response means that the wow effect is enhanced, and you won't need to apply as much wow to the high frequencies to achieve the desired effect. In addition to better sound, this means greater impact with less noise. The use of a high-performance ±15V DC power supply means that plenty of dynamic margin is available for both guitar and bass.
It should be noted that the Vitalizer does not achieve its remarkably sonic enhancement by artificially altering the frequency response to achieve only a subjective change. Altering the frequency characteristics would cause an unavoidable shift in the signal's phase characteristics, and that would have a negative effect on the overall sound. The Vitalizer has been painstakingly designed to maintain the integrity of the original signal as much as possible.
●Two Modes of Operation
1) Connect your volume or wow pedal to the Vitalizer's send and return jacks. The pedal will be active when the switch is turned ON. The pedal will be completely bypassed when the switch is turned OFF.
2) If nothing is connected to the send and return jacks the Vitalizer's volume knob can be used as a preset volume control. Turning the knob all the way clockwise produces unity gain (i.e. the output will be at the same level as the input).
●TPreset Volume for Level Matching
The preset volume function can be used to match levels between passive and active pickups, for example. This capability will be particularly appealing to bassists: use the Vitalizer to match the output of the instrument with the higher output to the lower-output bass. Furthermore, the Vitalizer circuit remains active even when the switch is off, so long cables can be connected to the Vitalizer output with no loss in signal quality.
●High-visibility Indicators
High-visibility LED indicators with specially designed lenses make it easy to see the pedal's select status even from a distance.

VITALIZER MANUAL (PDF)


The Vandal Bass Distortion pedal has been specifically created to expand the sonic palette of electric bass guitars - which cover both a surprisingly wide frequency and dynamic range. Until now the choice of bass distortion pedals was limited, and many bassists resorted to using guitar effects in order to add distortion to their sound. Guitar pedals are not an effective solution for use with bass, however, because they use equalization curves that do not match the response of bass instruments, and in many cases distortion will be applied to the upper midrange but not sufficiently to the all-important bass frequencies. The Vandal Bass Distortion, on the other hand, was designed for bass from the outset, with clipping and EQ circuits optimized for bass response. Unlike guitar distortion pedals that can leave you with a relatively dry low end with distortion that sounds disconnected from the core sound when used with bass, the Vandal Bass Distortion delivers solid distortion right from the lowest lows. Now you can achieve satisfying distortion for the whole bass sound. Furthermore, the equalizer controls provide wide-range bass boost capability so your ensemble sound will never lack the required low-end drive.
The Vandal Bass Boost circuitry is powered by a stabilized ±15V DC power supply that provides extra dynamic margin so that even with wild distortion can be achieved with minimum noise.