Chase Bliss Audio Brothers Settings Guide
The Chase Bliss Audio Brothers is a dual-channel analog overdrive/boost with full MIDI control and an internal DIP switch array for deep parameter adjustment — covering clean boost through medium gain overdrive across two channels that can run in series or parallel. Each channel has an independent character (one FET-based, one BJT-based) with different clipping and compression characteristics.
The best Chase Bliss Audio Brothers settings start with: Gain (A) at 4/10, Volume (A) at 6/10, Gain (B) at 6/10, Volume (B) at 6/10, Tone at 5/10. Adjust from there based on your amp, guitar, and room volume. For Blues: Gain (A) 3/10, Volume (A) 7/10, Gain (B) 6/10, Volume (B) 6/10, Tone 5/10.
⚡ Start Here — Recommended Settings
| Control | Starting Position | Range |
|---|---|---|
| Gain (A) | 4/10 | Clean → OD |
| Volume (A) | 6/10 | Unity → Boost |
| Gain (B) | 6/10 | Clean → OD |
| Volume (B) | 6/10 | Unity → Boost |
| Tone | 5/10 | Dark → Bright |
These are universal starting points. Adjust based on your amp, guitar, and room. Scroll down for genre-specific settings and artist-documented positions.
What Each Control Does
Recommended Starting Settings
Safe starting positions for any style. Adjust from here based on your amp and room.
All values on a 0–10 scale. These are starting points — fine-tune by ear.
Settings by Genre
Channel A as clean boost into Channel B as primary overdrive — the Brothers in series mode with A boosting into B. The FET channel A adds transparent level before the BJT Channel B's more characterful overdrive. The result is a layered, musical drive that responds to playing dynamics throughout the gain structure.
Both channels at low Gain in parallel mode — the Brothers in parallel creates a blended clean+dirt tone. At low Gain on both channels in parallel, it adds subtle harmonic texture and slight compression without audible saturation. Tone 6 provides the brightness for Telecaster clean country tones.
Both channels at moderate-to-high Gain in series — series operation with both channels at working Gain produces a rich, layered overdrive. The FET and BJT clipping characteristics layer differently from two identical circuits, producing more harmonic complexity. Tone at 5 keeps it balanced.
Channel B alone at maximum Gain gives the more aggressive BJT clipping character on its own, useful for a tighter, more cutting rhythm tone than the blended two-channel approach.
A balanced default setting works well as a MIDI-recallable baseline preset, with per-song variations layered on top via MIDI program changes rather than manual knob adjustments during a session.
Tips & Common Mistakes
- The DIP switch array (accessible by removing the base plate) includes options for clipping diode types per channel, tone stack bypass, and other deep voicing changes. The default settings are excellent for most applications, but exploring the DIP switches can tune the pedal specifically to a given amp character.
- Channel A (FET) and Channel B (BJT) are genuinely different circuit types, not just different gain stagings of the same design — worth auditioning each alone before combining them to understand what each contributes.
- MIDI control allows recalling complete two-channel configurations instantly, which is a significant practical advantage over manually resetting four gain and volume knobs between songs on a physical pedalboard.
- Series and parallel routing produce genuinely different tonal results even with identical channel settings — parallel tends to sound more blended and textured, while series sounds more like a traditional cascaded gain stack.
- The shared Tone control affects both channels simultaneously, so if one channel needs to sound notably brighter or darker than the other, that difference has to come from the Gain and Volume balance rather than independent tone shaping.
FAQ
Chase Bliss Audio Brothers — Common Questions
Best starting settings for Chase Bliss Audio Brothers: Gain (A) at 4/10, Volume (A) at 6/10, Gain (B) at 6/10, Volume (B) at 6/10, Tone at 5/10. Adjust from there based on your guitar, room, and playing style.
For Blues: Gain (A) 3/10, Volume (A) 7/10, Gain (B) 6/10, Volume (B) 6/10, Tone 5/10. Channel A as clean boost into Channel B as primary overdrive — the Brothers in series mode with A boosting into B. The FET channel A adds transparent level before the BJT Channel B's more characterful overdrive. The result is a layered, musical drive that responds to playing dynamics throughout the gain structure.
For Country: Gain (A) 2/10, Volume (A) 7/10, Gain (B) 3/10, Volume (B) 5/10, Tone 6/10. Both channels at low Gain in parallel mode — the Brothers in parallel creates a blended clean+dirt tone. At low Gain on both channels in parallel, it adds subtle harmonic texture and slight compression without audible saturation. Tone 6 provides the brightness for Telecaster clean country tones.
Gain (A): Channel A gain — FET-based circuit, cleaner compression. (Clean to OD). Volume (A): Channel A output. (Unity to Boost). Gain (B): Channel B gain — BJT-based, more aggressive clipping character. (Clean to OD). Volume (B): Channel B output. (Unity to Boost). Tone: Shared tone stack — affects both channels. (Dark to Bright)
The DIP switch array (accessible by removing the base plate) includes options for clipping diode types per channel, tone stack bypass, and other deep voicing changes. The default settings are excellent for most applications, but exploring the DIP switches can tune the pedal specifically to a given amp character. Channel A (FET) and Channel B (BJT) are genuinely different circuit types, not just different gain stagings of the same design — worth auditioning each alone before combining them to understand what each contributes. MIDI control allows recalling complete two-channel configurations instantly, which is a significant practical advantage over manually resetting four gain and volume knobs between songs on a physical pedalboard. Series and parallel routing produce genuinely different tonal results even with identical channel settings — parallel tends to sound more blended and textured, while series sounds more like a traditional cascaded gain stack. The shared Tone control affects both channels simultaneously, so if one channel needs to sound notably brighter or darker than the other, that difference has to come from the Gain and Volume balance rather than independent tone shaping.
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