Paul Cochrane Timmy Settings Guide
The Paul Cochrane Timmy is a low-to-mid-gain transparent overdrive with an inverted two-band EQ — Bass and Treble controls that cut (rather than boost) from the default-boosted position, and a Gain control that covers clean boost through moderate overdrive. It is considered the template for the transparent overdrive category, with many subsequent designs (Walrus Voyager, J. Rockett Animal, etc.) referencing it explicitly.
The best Paul Cochrane Timmy settings start with: Gain at 5/10, Volume at 6/10, Bass at 3/10, Treble at 3/10. Adjust from there based on your amp, guitar, and room volume. For Blues: Gain 6/10, Volume 6/10, Bass 3/10, Treble 4/10.
⚡ Start Here — Recommended Settings
| Control | Starting Position | Range |
|---|---|---|
| Gain | 5/10 | Clean → OD |
| Volume | 6/10 | Unity → Boost |
| Bass | 3/10 | Boosted → Cut |
| Treble | 3/10 | Boosted → Cut |
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
Moderate Gain with Bass near fully counterclockwise (boosted) — the Timmy at Gain 6 with minimal bass cut produces a warm, natural overdrive. Treble at 4 removes some of the default treble content for a slightly warmer overdrive character. These settings let the amp's inherent character come through completely.
Low Gain, high Volume, flat EQ (both controls at 3 = minimal cut) — the Timmy as a pure amp push. At these settings it adds only a subtle harmonic warmth and lifts the level to push the amp's front end. This is the most transparent overdrive application: the tone is the amp, not the pedal.
Moderate bass cut to tighten up single-coil low-end in a lead context — Gain 4 adds slight harmonic content without obvious saturation. Volume 7 boosts for lead level. Bass at 4 cuts some of the bloom from Telecaster or Stratocaster low strings for a tighter, more articulate lead tone.
Near-maximum Gain is still moderate by distortion-pedal standards, staying in a warm, amp-like overdrive territory rather than crossing into hard clipping.
Low Gain with both EQ controls near their most open position preserves the natural resonance of a semi-hollow guitar, adding only a light touch of harmonic warmth.
Tips & Common Mistakes
- The inverted EQ confuses first-time users — both controls at maximum counterclockwise is the flattest and most open setting. Start there and work clockwise to introduce cuts. Most players end up with both controls between 8 and 11 o clock. The EQ is far more interactive with the Gain than it appears from the control layout.
- This circuit is widely referenced as the template for the transparent overdrive category — pedals like the Walrus Voyager and J. Rockett Animal explicitly cite it as an influence, making it a useful reference point for understanding the broader category.
- Because the EQ controls cut rather than boost from a bright default, this pedal tends to sound darker overall than a standard-EQ overdrive at the same knob positions — do not assume settings translate directly from a conventional pedal.
- At the lowest Gain settings, this functions closer to a clean boost with subtle coloration than an overdrive — a legitimate always-on use case distinct from using it as a switchable gain stage.
- Pairing this pedal with a brighter guitar or amp compensates well for its inherently warm, slightly dark voicing — worth considering system-wide brightness rather than adjusting Treble alone if the tone feels too dark.
FAQ
Paul Cochrane Timmy — Common Questions
Best starting settings for Paul Cochrane Timmy: Gain at 5/10, Volume at 6/10, Bass at 3/10, Treble at 3/10. Adjust from there based on your guitar, room, and playing style.
For Blues: Gain 6/10, Volume 6/10, Bass 3/10, Treble 4/10. Moderate Gain with Bass near fully counterclockwise (boosted) — the Timmy at Gain 6 with minimal bass cut produces a warm, natural overdrive. Treble at 4 removes some of the default treble content for a slightly warmer overdrive character. These settings let the amp's inherent character come through completely.
For Amp Push: Gain 3/10, Volume 7/10, Bass 3/10, Treble 3/10. Low Gain, high Volume, flat EQ (both controls at 3 = minimal cut) — the Timmy as a pure amp push. At these settings it adds only a subtle harmonic warmth and lifts the level to push the amp's front end. This is the most transparent overdrive application: the tone is the amp, not the pedal.
Gain: Gain from clean boost through moderate warm overdrive. (Clean to OD). Volume: Output level. (Unity to Boost). Bass: Inverted bass EQ — turning clockwise removes bass from the circuit. Unity (flat) is at max counterclockwise. (Boosted to Cut). Treble: Inverted treble EQ — same principle as Bass. Most players keep both at 9–10 o'clock for flat response. (Boosted to Cut)
The inverted EQ confuses first-time users — both controls at maximum counterclockwise is the flattest and most open setting. Start there and work clockwise to introduce cuts. Most players end up with both controls between 8 and 11 o clock. The EQ is far more interactive with the Gain than it appears from the control layout. This circuit is widely referenced as the template for the transparent overdrive category — pedals like the Walrus Voyager and J. Rockett Animal explicitly cite it as an influence, making it a useful reference point for understanding the broader category. Because the EQ controls cut rather than boost from a bright default, this pedal tends to sound darker overall than a standard-EQ overdrive at the same knob positions — do not assume settings translate directly from a conventional pedal. At the lowest Gain settings, this functions closer to a clean boost with subtle coloration than an overdrive — a legitimate always-on use case distinct from using it as a switchable gain stage. Pairing this pedal with a brighter guitar or amp compensates well for its inherently warm, slightly dark voicing — worth considering system-wide brightness rather than adjusting Treble alone if the tone feels too dark.
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