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SHAPER Analog Tone Filter

SHAPER Analog Tone Filter

Sometimes your tone doesn’t need more gain. It needs a completely different shape.

SHAPER is a fully analog tone filter designed to take a familiar instrument sound and push it into a different space.

Narrower.

Smaller.

Sharper.

Stranger.

And sometimes exactly what the song needs.

Not an EQ. Not a modeler. A tone-shaping instrument of its own.

Three voices

SHAPER gives you three distinct analog filter characters.

HORN

Focused and mid-forward.

A compact voice that pulls attention toward the center of the spectrum and gives riffs or melodic lines a different place in the mix.

PHONE

Narrow, direct and unmistakably filtered.

Think old telephone lines, small speakers and deliberately restricted bandwidth.

Perfect when a full-range guitar sound is simply too polite.

RADIO

A more extreme tonal perspective.

Thin, colored and intentionally unconventional — useful for parts that need to feel like they are coming from somewhere else.

Shape it further

The filter control lets you change how strongly the selected voice affects the signal.

That means the modes aren’t just three fixed presets.

They are starting points.

You can move from a relatively open filtered sound toward something much narrower and more dramatic.

LEVEL then lets you place the effect where it belongs in your signal chain without the tonal transformation automatically deciding the output volume for you.

Why use it?

Because not every guitar part needs to sound huge.

Sometimes you want to:

  • make an intro feel smaller before the full band arrives
  • create contrast between verse and chorus
  • build layered guitar parts without stacking identical frequency ranges
  • make a rhythm track cut through differently
  • create a vintage communication-device texture
  • turn one guitar into something that no longer sounds like “just another guitar”

SHAPER is especially useful when arranging music.

Instead of adding another effect on top of your sound, you can simply remove the frequencies you don’t need and let the part occupy its own space.

Less spectrum can create more character.

No digital shortcuts

There are no impulse responses.

No speaker simulations.

No presets.

No screen showing you what the pedal thinks an old radio should sound like.

The transformation happens with real analog filtering inside the circuit.

And you hear the result immediately.

HORN / PHONE / RADIO Analog frequency shaping Variable filter character Independent output level Hand-built in Ukraine

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Built by hand. Made to be played.

Built by hand. Made to be played.

Bochev FX started with a simple idea:

I wanted something I couldn’t find.

I’ve always loved analog sound — old amplifiers, warm overdrive and circuits that react to the way you actually play.

Alongside that was always an engineering curiosity: understanding why something sounds the way it does, changing it, rebuilding it and eventually creating something of my own.

I built my first pedal about ten years ago because I couldn’t find an existing product that did exactly what I wanted.

There was no business plan.

Just music, electronics and curiosity.

That approach eventually became Bochev FX.

01

Analog by choice

There is already enough digital technology in the world.

I sometimes describe myself as an analog creature stuck in a digital world.

It’s a joke — but it explains a lot about Bochev FX.

For me, analog means:

  • character — a circuit with its own personality
  • response — something that reacts to your hands
  • simplicity — controls that immediately make sense
  • connection — between the musician, the instrument and the circuit

A pedal should feel like an instrument, not a computer.

Turn a knob and hear what happens.

Play harder and the circuit reacts.

Roll something back and the sound changes with you.

No screens. No menus. No unnecessary features.

02

It starts with a missing sound

Most Bochev FX pedals begin with one thought:

I want this sound — but I can’t find the pedal I want to make it.

Then the idea starts becoming something physical.

Idea → Circuit → Breadboard → Listening → Design → PCB → Build → Testing

The circuit changes.

Components change.

The enclosure changes.

Sometimes even the original idea changes.

And then the pedal goes to musicians.

Their feedback is one of the most important parts of the process. If something can feel, sound or work better, I go back and change it.

A schematic that works is not enough.

A pedal is finished when musicians want to keep playing through it.

GLOWBURN and SHAPER represent this philosophy especially well.

They grew through experiments, listening and countless small decisions until they became pedals I genuinely feel proud of.

03

Details matter

Sound comes first.

But a great pedal is more than a schematic.

The enclosure matters. The knobs matter. The components matter. The way the controls feel matters. The way everything is assembled matters.

Every Bochev FX pedal is assembled and soldered by hand.

Sometimes I paint parts myself.

And sometimes I simply hold a finished pedal and look at it like a cat that has decided it deserves attention.

That probably explains our attitude to details better than a corporate statement about quality control ever could.

We use quality components even when they cost more.

Not because expensive automatically means better — but because when a better component genuinely improves the result, cutting that corner simply doesn’t make sense to us.

These are not products we make because we have to. These are things we love making.

04

A family behind every pedal

Bochev FX started from my personal obsession with guitar sound and electronics.

But today it is no longer a one-person story.

My wife and my son are directly involved in what we are building.

My daughter, my mother and my sister support the project and are part of its story too.

So when we describe Bochev FX as a small independent workshop, that isn’t marketing language.

There really is a family behind it.

And that is something I want to preserve as the company grows.

The goal is not to become a giant factory producing anonymous boxes.

The goal is to build a modern analog company:

  • professional
  • technically serious
  • independent
  • personal
  • connected to musicians

A company capable of reaching players around the world without losing the character of a small workshop.

05

Built by hand in Ukraine

Ukraine is not simply a location printed on the bottom of our pedals.

It is part of who we are.

This is my home.

And I want every Bochev FX pedal to carry that identity wherever it goes.

Built by hand in Ukraine means exactly what it says.

Designed here. Assembled here. Tested here.

Made by people who care about what leaves the workshop.

It isn’t a slogan added at the end of the process.

It is part of the brand itself.

06

Made for musicians we understand

When I imagine the person using a Bochev FX pedal, I don’t imagine a marketing demographic.

I imagine myself.

My friends.

And people I haven’t met yet — but might become friends with because we care about the same things.

Guitars. Amplifiers. Pedals. Good sound.

We make pedals for musicians who notice details.

For people who care about the way their equipment sounds, feels and responds.

For someone who understands why a small independent workshop may look at a product differently from a large corporation.

For someone who can still plug a guitar into an amplifier, discover a new sound and unexpectedly keep playing for another hour.

When I see a Bochev FX pedal on someone else’s pedalboard, I want my first thought to be simple:

This musician clearly cares about good sound.

Learn more
  • SHAPER Analog Tone Filter

    SHAPER Analog Tone Filter

    Sometimes your tone doesn’t need more gain. It needs a completely different shape.

    SHAPER is a fully analog tone filter designed to take a familiar instrument sound and push it into a different space.

    Narrower.

    Smaller.

    Sharper.

    Stranger.

    And sometimes exactly what the song needs.

    Not an EQ. Not a modeler. A tone-shaping instrument of its own.

    Three voices

    SHAPER gives you three distinct analog filter characters.

    HORN

    Focused and mid-forward.

    A compact voice that pulls attention toward the center of the spectrum and gives riffs or melodic lines a different place in the mix.

    PHONE

    Narrow, direct and unmistakably filtered.

    Think old telephone lines, small speakers and deliberately restricted bandwidth.

    Perfect when a full-range guitar sound is simply too polite.

    RADIO

    A more extreme tonal perspective.

    Thin, colored and intentionally unconventional — useful for parts that need to feel like they are coming from somewhere else.

    Shape it further

    The filter control lets you change how strongly the selected voice affects the signal.

    That means the modes aren’t just three fixed presets.

    They are starting points.

    You can move from a relatively open filtered sound toward something much narrower and more dramatic.

    LEVEL then lets you place the effect where it belongs in your signal chain without the tonal transformation automatically deciding the output volume for you.

    Why use it?

    Because not every guitar part needs to sound huge.

    Sometimes you want to:

    • make an intro feel smaller before the full band arrives
    • create contrast between verse and chorus
    • build layered guitar parts without stacking identical frequency ranges
    • make a rhythm track cut through differently
    • create a vintage communication-device texture
    • turn one guitar into something that no longer sounds like “just another guitar”

    SHAPER is especially useful when arranging music.

    Instead of adding another effect on top of your sound, you can simply remove the frequencies you don’t need and let the part occupy its own space.

    Less spectrum can create more character.

    No digital shortcuts

    There are no impulse responses.

    No speaker simulations.

    No presets.

    No screen showing you what the pedal thinks an old radio should sound like.

    The transformation happens with real analog filtering inside the circuit.

    And you hear the result immediately.

    HORN / PHONE / RADIO Analog frequency shaping Variable filter character Independent output level Hand-built in Ukraine

  • GLOWBURN Analog Overdrive

    GLOWBURN Analog Overdrive

    Warm when you want it. Aggressive when you ask for it.

    GLOWBURN is a fully analog overdrive built around the character we love in classic drive circuits — warm harmonics, musical mids and the feeling of an amplifier being pushed just a little harder than it wants to be.

    But GLOWBURN isn’t here simply to recreate the past.

    It was tuned to feel open, controlled and alive under the fingers.

    Classic overdrive DNA. Shaped for the way we want to play today.

  • BOOST 20 dB Mini

    BOOST 20 dB Mini

    Clean gain. More presence. Nothing in the way.

    BOOST 20 dB Mini is a compact, fully analog clean boost built to make your existing sound bigger, stronger and more present — without replacing it with something else.

    Up to +20 dB of clean analog gain. Your sound stays yours.

    Whether you need to push a tube amp harder, bring a solo forward or simply strengthen the signal before the next pedal, BOOST keeps the job simple.

    What it does

    • adds up to +20 dB of clean gain
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Find your unit

Enter the unit serial number to open its registered page.

Start with a push

Keep DRIVE low and GLOWBURN becomes a warm front end for your amplifier.

It can add:

  • presence
  • harmonic richness
  • light compression
  • additional push
  • a little more urgency under the fingers

This is where GLOWBURN can live as an always-on part of your sound.

Then let it burn

Turn DRIVE further and the pedal moves naturally into a richer, more saturated voice.

The low end stays controlled.

The mids remain focused.

The top keeps enough definition for chords and picking dynamics to remain clear.

Not fuzzy. Not loose. Not buried.

Just a musical overdrive that reacts to the player.

Three controls. Nothing extra.

DRIVE

Controls the amount of gain and saturation.

TONE

Shapes the balance between warmth and bite.

LEVEL

Sets the output and lets you decide how hard the next stage of your rig gets hit.

Use GLOWBURN as

  • a warm boost before a tube amp
  • an always-on foundation
  • a rhythm overdrive
  • a main drive sound
  • a gain stage before another pedal
  • a way to add focus without losing the identity of your guitar

The goal wasn’t maximum distortion. The goal was the point where the guitar starts feeling better to play.

That is where GLOWBURN lives.

Fully analog DRIVE / TONE / LEVEL Carefully tuned analog clipping Hand-built in Ukraine

  • preserves the natural character of your instrument
  • works equally well with guitar and bass
  • can push an overdrive or tube input into a more responsive range
  • helps compensate for level differences across a pedalboard
  • One knob. Many uses.

    Turn it down for a subtle lift.

    Move it further for more presence and authority.

    Push it hard when you want the next stage of your rig to react differently.

    There are no modes to select and no menu to learn.

    You decide how much more you need.

    Where it works

    1. Before an overdrive — for more saturation and response.
    2. Into a tube amp — to push the input harder.
    3. For solos — to move forward in the mix.
    4. In a complex pedalboard — to restore or balance signal level.
    5. With bass — when you want more level without changing the basic character of the instrument.

    A good boost shouldn't tell you what your tone should sound like.

    It should simply give you more of it.

    Fully analog signal path Up to +20 dB boost Single control Hand-built in Ukraine