The Catalinbread SFT is an AMPEG voiced overdrive pedal that nails the Stones ’70s tones on Sticky Fingers, Get Yer Ya-Ya’s Out! and Exile of Main Street plus goes beyond into a fuzz sound when depressing the Stoner switch. Please note the older version did not have the Stoner switch as the pedal has been revamped. Perhaps, the SFT was so named for Sticky Fingers Tone. Don’t know, but this pedal sure nails the Keefer Brown Sugar and Midnight Rambler guitar town back when he was running Ampeg SVP amps. Does a great job on Steely Dan’s Reeling in the Years as well.

The Catalinbread SFT can be run on a standard 9-volt power supply or an 18-volt supply that will add even more headroom to this pedal sounds. Sounds great plugged into a vintage Fender Princeton Reverb making it sound nothing like a Princeton and every bit like the early Keefer Stones sound. Also sounded quite great into a Tone King Royalist 15 and Tone King Imperial MK II.

In 1969 after the Rolling Stones had their entire HIWATT backline confiscated at the Canadian/US boarder on their American Tour 1969. AMPEG stepped up to the plate providing an entire backline of 8 (and one as a backup) prototype SVT amplifiers and a tech to support them on the tour. Anybody who has listened to “Get Yer Ya-Ya’s Out!” knows that BIG, bouncy, full sound of the guitars and basses. A sound that defined the Stones sound until the mid to late 70s when they were using VT40s and VT22s. This is well documented in the book, Ampeg: The Story Behind the Sound.

Overview from Catalinbread:

Since the SFT basically offers you two pedals in one, we’ll go through how the controls work for each mode.

Set to noon for a relatively flat response. Below noon to cut and above noon to boost. These are treble and bass shelving controls and have been carefully voiced for the SFT.

How do I control the midrange?

In Stones mode, setting all controls at noon will give you a flat response with a slight emphasis on the lower mids to give that big bodied Ampeg sound. To get more of a mid-hump response, try starting with Bass at 9:00 and Treble at noon. The Treble control is voiced to boost not only the highs but the upper mids as well so you can turn the Treble control up a bit to get more mids to crunch through. Try setting the Treble from noon to about 1:30 to boost some upper mids without increasing the treble too much. Also, turning the Gain control up will provide more push in the midrange as well.

And if you want to scoop the mids, just turn the Treble and Bass controls up. This is most effective when you run with lower Gain settings.

Range of BASS KNOB
Turning the Bass control down from noon gives a high-pass shelving response around 200hz. This allows you to tighten up the response and attenuate those woolly and woofy frequencies. Turning up the Bass control boosts all those frequencies. You’ll notice as the Bass control is turned towards maximum there will be a huge bump in low end. Huge. For most purposes that is too much boost of the low end! That huge amount of low end boost is there so you can crank it for the fuzz setting in Stoner mode.

Turning the Treble control down from noon gives a low-pass shelving response at around 1000hz. Typically you’d turn the Treble down below noon in the following situations: you’ve got the Gain set low for clean response, you’re in Stoner mode dialing in a woolly fuzz tone, or you’re playing bass. Turning up the Treble control first gives you a nice kick in the upper mids from noon to 2:00 and then beyond that the sound will get increasingly more trebly. For most uses on guitar in Stones mode, you’ll probably find yourself setting the Treble from noon to 2:00.

In STONES MODE, the range of the GAIN KNOB has been tuned to be very similar to that of the volume control on a big non-master volume tube amp. So, from minimum Gain to about 10:00, the response will be clean and bright. From 10:00 to noon, you’ll get edge-of-breakup response that is very sensitive to pick attack. From noon to 2:00, you’ll hit the overdrive sweet spot, just like that of most tube amps. And from 2:00 on, you’ll get increasing crunch and saturation.

Now, just like with real tube amps, the amount of overdrive you get with the SFT depends on the type of guitar you’re using. So, if you’re using a Fender-style guitar with vintage output pickups, you’ll have to turn up the Gain more to crunch it out or use a booster/fuzz pedal in front. Just like how you would with a real amp. Or, if you’re using something with a humbucker, you’ll have to turn the Gain down to get a cleaner response. Some guitars with high-output pickups may crunch out the pedal even with the Gain turned down. Just like with a real amp! Also, just like a real amp, SFT responds really well to turning your guitar’s volume down. So you can set the SFT up for a nice saturated crunch and clean up instantly by rolling your guitar volume back.

Also just like real non-master volume tube amps, you’ll find that you set the tone controls differently depending on where the Gain is set. If you’re going for a clean sound with the Gain set below noon, you might end up using less Treble but more Bass. And conversely, if you’re going for cranked up amp sound, you’ll find you’ll want to turn the Bass down and the Treble up to get a good crunch sound that cuts through the mix.

The SFT was designed to give a huge amount of output even with clean low gain settings. So, if you’re running the Gain control really low, you’ll find that there is plenty of output on the Volume knob to boost that clean sound quite loud! But if you’re running higher gain sounds, especially in Stoner mode, you’ll find that you won’t have to turn the Volume control up much at all.

When you’re in STONER MODE, the controls still work basically the same way but you’ll find that you will run the TREBLE, BASS, and GAIN KNOBS lower than you would in Stones mode due to all the extra gain and frequency content.

Howard Gee, Catalinbread Chief Designer does a great demo for this pedal in these videos. He is a pretty damn good player as well!