Description

We took our most legendary overdrive to a new level and redefined what it means to be transparent. Clearer pick attack, improved low end, and more versatile gain stacking. 
This is the ultimate first-stage overdrive pedal. 
It start­ed at sound­check. 
I watched Ju­lian Lage dial in his tone at a sound­check in Chica­go. Vin­ta­ge Fen­der amp. Collings semi-hol­low gui­tar. He ad­just­ed pickup heights, moved po­si­tions on stage, chas­ing the per­fect bal­ance. It was cap­ti­vat­ing. 
Ju­lian has used a Morn­ing Glo­ry for years — he’s a big rea­son it end­ed up on jazz ped­al­boards world­wide. Af­ter the sound­check, we dis­cussed what he looked for in an over­drive. One thing led to an­oth­er. My brain start­ed wan­der­ing off into dif­fer­ent ideas. Could we make the Morning Glory even better? 
The prob­lem with trans­par­ent. 
When you add over­drive — any type of clip­ping — you lose nu­ance. Pick at­tack gets com­pressed. Dy­na­mics nar­row. All overdrives shape frequency response, even the most transparent.
So we tried some­thing no one’s done: we took our Morn­ing Glo­ry (a Blues­breaker-style topol­o­gy) and com­plete­ly re­built it around a stu­dio-grade par­al­lel clean blend. Not just a mod­i­fi­ca­tion, a re­design from the ground up.
On pa­per, it seemed point­less — why blend a clean sig­nal into some­thing al­ready trans­par­ent? 
Here’s why. The Morn­ing Glo­ry’s magic happens when you turn up the Drive, the circuit boosts higher harmonics and adds soft com­pres­sion. Jan­g­ly. Per­fect in a mix. The par­al­lel clean cir­cuit lets you keep all that while di­al­ing the nat­ur­al low end back in — all the tone, all the char­ac­ter. Noth­ing com­pro­mised.
This isn’t a clean knob slapped on a Morn­ing Glo­ry.
For those won­der­ing — let’s talk about what’s ac­tu­al­ly hap­pen­ing in­side.
The Clean con­trol uses a dual-gang po­ten­tiome­ter. As you turn it, clean gain scales pro­por­tion­al­ly with the drive sig­nal — it’s per­fect­ly en­gi­neered from the ground up. Most clean blends are an af­terthought — a sim­ple mix knob tacked onto an ex­isting cir­cuit. This one was de­signed so the two sig­nals track to­geth­er across all gain settings. No vol­ume jumps. No weird phase is­sues. Just seam­less blend­ing from Morn­ing Glo­ry to pure sig­nal and every­thing in-be­tween. 
The pow­er sec­tion runs on a ±9V dual sup­ply — the same topol­o­gy as our V4 — which gives you high­er head­room than the orig­i­nal V1 cir­cuit and any oth­er Bluesbreak­er-style ped­al out there. This is where most clones get it wrong. Think of it as the orig­i­nal Ver­sion 1 Morn­ing Glo­ry voic­ing with the V4 en­gi­neer­ing en­hance­ments. 
The Tone con­trol af­fects only the over­drive path. Your clean sig­nal stays par­al­lel and un­touched. For the peo­ple who care about this stuff: this is the most thought-out and so­phis­ticat­ed Morn­ing Glo­ry we’ve ever built. 
End­less head­room. Any vol­ume. 
End­less head­room. Those mas­sive clean gui­tar sounds that you love on record­ings — most were made at vol­umes that would get you evict­ed. The Morn­ing Glo­ry Clean gives you the stiff…

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