BJFe Collections of Pedals *Video*

*This is a used pedal lot in very good to excellent condition
*This is a consignment item

$4,499.00 plus $40.00 shipping (consignment)

Bjorn Juhl Forstarker first began building guitar effects pedals around 1981, just as the nascent boutique pedal revolution was beginning, with the likes of now legendary names like Craig Anderton and R.G. Keen; and as the 21st century began, Bjorn founded his Elektronik pedal company, BJFE. This was still near the beginning of the boutique pedal building boom that is now ubiquitous and Bjorn, building in Sweden, was definitely one of the Scandinavian pioneers. On top of that, he built REALLY great pedals, which is why his early works are now so sought after.

His pedals are incredibly solid and durable, sporting heavy duty cases and cool touches, like sealed circuit boards wrapped in neoprene to protect against impact, the elements, and nosy people trying to figure out trade secrets.

His first pedals were painted with nitrocellulose. In 2002, he switched to oil paint which is more durable and ages better. His wife, Eva, also added artwork of her own, lending even more individuality to the early pedals. All these unique touches add up to a very sought after and great sounding pedal, some of which never made it to current production, and thus are especially desirable.

All pedals have been thoroughly tested and work as they should. Included in the lot:

• Purple Humper: SN# PH 069 (LE - Limited Edition; five made)
• Pine Green Compressor: SN# PGC 118 (CP - Current Production)
• Pink Purple Fuzz: SN# PPF 139 (OOP - Out Of Production)
• Red Rooster Booster: SN# RBB 078 (OOP)
• Emerald Green Distmachine (Distortion Machine): SN# EGD 238 (CP)
• Sea Blue EQ: SN# SBEQ 41 (CP)
• EchoVerb: no visible SN# (LE)
• Super Apricot OD: no visible SN# (LE)
• Dyna Red Distortion: SN#DR 337 (CP)
• Honey Bee OD: SN# HB 327 (CP)
• Fuzz 65: SN# Fuzz65 006 (LE)
• Candy Apple Fuzz: SN#CAP 055 (CP)

The Purple Humper: technically a mid-range boost pedal; sounds like a transparent overdrive without a gain section. Definitely makes an amp sound better!

Pine Green Compressor: "Wide band low distortion compression with tone control (released 4th December 2002). BJ originally designed the PGC because he wanted to cover some Beatles songs - most of The Beatles recordings are heavily compressed with an Abbey Road RS-124 compressor used on virtually every guitar track (the RS-124 is an EMI modified Altec 436B). So, BJ made himself a compressor to create this compressed Beatles-guitar sound. This first pedals only had two Controls but this was later increased to three Controls, with the new "Body" Control providing EQ adjustment, to make the pedal more useful for a wide range of styles. As you increase the compressions the treble is accentuated and so the Body Control helps maintain the balance - in fact, the Body Control provides a slight rolloff of the treble, just like a classic guitar compressor. The early model was called the Pale Green Compressor had a flat green color and were covered in Nitrocellulose lacquer. The color was changed to a brighter oil-based color in 2004." - BearFoot fx

Pink Purple Fuzz: "Vintage fuzz updated (released 9th March 2002, retired October 2007, 179 made). The PPF was originally designed for a Fender Stratocaster with a Seymour Duncan QP in bridge. This pedal was discontinued due to parts shortage and because the controls were not quite traditional. With regards to the controls, if you set the Nature control at noon then turning it clockwise will attenuate the highs quite a bit when fully clockwise and when you turn it counter-clockwise from noon you boost low mids and bass. The reason for this type of control is partly so that the filtering can follow the fuzz level and also so an overdrive type sound can be obtained when setting Nature at clockwise and also so that with brighter amps the critical treble can be trimmed from somewhat nasal at Nature clockwise to where it just opens up with Nature slightly backed off. On darker amps this portion of the Nature control may make less sense to none at all, while with some brighter amps it can be the exact line between bright and an icepick." - BearFoot fx

Red Rooster Booster: "Up to 33dB of boost (released 27th May 2003, retired 17th February 2010). The RRB is a very high headroom booster that differs from the BPB in that it provides a lot more boost and it is meant to push an amp into distortion. On higher settings the RRB will produce some natural distortion of its own to go with the boost. The RRB has a flat EQ profile and can even be used with bass and it will not boost any treble." - BearFoot fx

Emerald Green Distmachine (Distortion Machine): "Voxy distortion booster (released 30th September 2003). The pedal was originally requested by by Deano/Pinkstrat as a distortion pedal for a Komet 60 amp however BJ did not have a Komet amp so he designed it using a late 60's VOX AC15 Twin with two Alnico 10"s instead (also, some people wanted a Vox-type drive as well). It was originally designed using a Flying V with light humbuckers (about the same level as P-90's) and was conceived to work with an already distorted sound. The early models had a flat green color and were covered in Nitrocellulose lacquer. The color was changed to a brighter oil-based color in 2004. The controls on the pedal are somewhat non-standard as in the "Drive" control also effects the compression level and the "Voice" control adjusts more than the treble. The idea, as on a Vox amp, is that with both controls to the left it is clean and bright and as you turn them up it adds distortion and compression and the treble rolls off and there is a bass 'flub'. On top of this there is an internal trimmer (added at around #7) to help adjust the treble. The backplate artwork is a ringed planet in the clouds with a comet streaking through - the comet symbolises the Komet 60 amp." - BearFoot fx

Sea Blue EQ: "Booster pedal with active EQ (released 6th September 2004). This is not a transparent booster. The SBEQ when compared to RRB has maximum flat gain similar to the BPB but a little higher so it corresponds to the RRB with the Gain set to 1 O'clock. The frequency bands that are affected during the boost or cut are set empirically, as in let's proceed on whatever sounds good and there is no center point on that. However, the SBEQ can be set flat minus some of the upper band, but not more than an Alnico speaker provides. The volume control sets the output and the bass and treble controls set the cut or gain for those frequencies with a flat response being Bass at 9 O'clock and Treble at 12 O'clock. The SBEQ is designed to take overload, like with BPB and RRB, only with the SBEQ there can be more overload regardless of the output level but depending on settings of the EQ controls and the incoming level." - BearFoot fx

EchoVerb: Two delays AND a lush reverb, all in one pedal! Delays have a classic analog vibe; i.e., warm tone with clocking. All the usual delay controls (feedback and delay time), plus modulation and tape degradation knobs. The extra foot button allows hands free pattern changes. Rare color; hard to find pedal. Custom hand-drawing inside backplate.

Super Apricot OD: High-gain Tweed amp in a box.

"My favourite at the moment is a circuit I call Super Apricot OD and it is an Amp In A Box design and the model for that is is the kind of sounds I heard from Jimi Page first LP with a Supro amp and a telecaster and it really doesn’t sound like a small amp with a Telecaster. SAOD is a dynamic OD almost as dynamic as Honey Bee but a different sound that is more rock." - BJF

Dyna Red Distortion: "Dynamic, harmonic "plexi" kind of nature (released 9th May 2001). The DRD provides distortion from almost none to fairly heavy and can give a crunchy sound to a cleaner amplifier. With the Drive control below 12 o'clock the pedal provides dynamic distortion whereas above 12 o'clock it is full distortion regardless of your pick attack. The DRD can be used with distorted amplifiers but in this instance there may be just a bit too much crunch." - BearFoot fx

Honey Bee OD: "Mild dynamic overdrive, like and old Supro (released 4th December 2002). This was originally designed using a Flying V with light humbuckers (about the same level as P-90's). BJ prefers to demo the HBOD with a Les Paul to show the dynamic range. The HBOD combines very well with the EGDM (Emerald Green Distortion Machine) as they can combine to cover each others weaknesses - the HBOD has low compression while the EGDM has quite a bit; the HBOD's distortion is controlled via the pick force and input level whereas the EGDM's output is near constant (while the distortion level is dynamically controlled)." - BearFoot fx

Fuzz 65: Rare pedal. KILLER fuzz. Lots of tone control and super buzzy; psychadelic to industrial tones available.

Candy Apple Fuzz: Serial number denotes production towards the beginning of this pedal's history. Hand-drawn wolf head on inside of backplate. "From heavy gated fuzz to octave doubling fuzz and all points in between (released 28th October 2001)." - BearFoot fx